work. The Fourth is most characteristically Russian and cer-
tainly the most striking in its uncompromising directness of ex-
pression. The first movement announces a recurrent, intensely
subjective motto typical of that impending Fate which would
not allow Tchaikowsky happiness.[308] The slow movement is
based upon a Russian folk song of a melancholy beauty, sung
by the oboe, and another, already cited (see Chapter II, p. 33),
is incorporated in the Finale. The Scherzo is unique as an or-
chestraltour de force; for, with the exception of a short middle
portion for wood-wind and brass, it is for the string orchestra
playing pizzicato throughout. The effect is extremely fantastic
and resembles that of ghosts flitting about in their stocking-
feet or of sleep-chasings, to use Whitman’s expression.[309] The
Finale is a riot of natural, primitive joy, a picture—as the com-
poser says—of a popular festivity. “When you find no joy within
you, go among the people, see how fully they give themselves
up to joyous feelings.” Fate sounds its warning, but in vain;
nothing can repress the exultation of the composer. “Enjoy the
joy of others and—you still can live.” The work is sensational,
even trivial in places; but it reveals sincerity and elemental life.
The composer lays himself bare and we see a real man—not
a masked hypocrite—with all his joys and sorrows, caught, as
Henley would say, “in the fell clutch of circumstance,” blud-
geoned by Fate.
[Footnote 308: See the detailed program by the composer him-
self, cited in Nieck’sProgram Music.]
[Footnote 309: For this simile I am indebted to Mr. Philip Hale.]
The Sixth Symphony, the Pathetic, is the most popular and, on
the whole, Tchaikowsky’s most sustained work. It owes its hold
upon public esteem to the eloquent way in which it presents
that “maladie du siècle” which, in all modern art,[310] is such a
prominent note. The mood may be a morbid one but we cannot
mistake the conviction with which it is treated. The work is
likewise significant because of the novel grouping of movements.
The first is in complete sonata form and for finished architecture
will stand comparison with any use of that form. The themes
are eloquent, well contrasted and organically developed. The
orchestration is a masterpiece.[311] The second movement is the
one famous for its use of five beats a measure throughout; and
its trio, on a persistent pedal note D, is a striking example of the
Russian tendency to become fairly obsessed with one rhythm. It