is an intentional, artistic use of monotony and may be compared
to the limitless Russian Steppes. If it seem strange to Western
Europeans, it should be remembered that the music is Russian
and portrays a mood perfectly natural to that people. The third
movement is a combination of a scherzo and a march—of a most
unbridled fury. The Finale is a threnody, one of overpowering
grief, the motto of which might be “vanity of vanities, all is
vanity.” It abounds in soul-stirring orchestral eloquence and
invariably makes a deep impression.
[Footnote 310: For further comment see the Life of Tchaikowsky
by Rosa Newmarch.]
[Footnote 311: As may be seen by the number of illustrations
from it in text books!]
For special comment we have selected Tchaikowsky’s[312] Fifth
Symphony in E minor since, being a union of Russian and Ital-
ian characteristics, it reveals that eclecticism so prominent in his
style. It is also an admirable example of organic relationship be-
tween the movements. This symphony, like the Fourth, contains
a recurrent motto of sombre nature in the minor mode which,
appearing in the first three movements with some dramatic im-
plication, is changed in the Finale to the major and used as the
basis for a march of rejoicing. The first and last movements
are in elaborate sonata-form; the second and third in three-part
form. The Finale is one of the most striking examples in modern
literature of arésuméof preceding themes and hence a convinc-
ing proof of the composer’s constructive power. The symphony
begins with a long prelude announcing the motto. Scored for
clarinets, bassoons and low strings it shows vividly that pecu-
liar impression which Tchaikowsky secured by using the lower
ranges of the orchestra.
[Footnote 312: The authoritative work on Tchaikowsky isThe
Life and Lettersby his brother Modeste; the abridged biogra-
phy by Rosa Newmarch should also be read. There are excellent
essays inMezzotints in Modern Musicby Huneker; in Streat-
field’s volumeModern Composersand in Mason’sFrom Grieg
to Brahms.]
[Music]
The melody itself seldom moves above middle C, and its effect
is enhanced by the quality of the clarinets in their chalumeau