register. The first theme of the movement proper (beginning
at the Allegro con anima), on the same harmonic basis as the
motto and derived from it rhythmically, is given outppby a solo
clarinet and solo bassoon, accompanied by very light detached
chords in the strings,e.g.
[Music]
This is elaborately and brilliantly developed until, in measure 79
(counting from the Allegro), we reach a transitional, subsidiary
theme in B minor. This is followed by some striking sequences,
exquisitely scored, and then (at un pochettino più animato)
there is a quickened presentation of the transitional theme, in-
terspersed by syncopated calls—on the horns and wood-wind—
a presentation which introduces the second theme in D major,
marked molto più tranquillo. This melody, sung by the violins
against an obbligato in the wood-wind, is clearly Italian in its
grace and suavity and establishes that wonderful contrast so
prominent in Tchaikowsky—the warmth and exuberance of the
South set against the grim austerity of the North.
[Music]
This theme, expanded (stringendo and crescendo) into a series
of exciting climaxesfff leads, after some modulatory phrases
derived from the transitional theme, to the Development which
begins in B-flat major. Throughout this is a fine piece of work—
with real thematic growth, bold modulations and no “padding.”
It should refute completely any erroneous opinion that Tchaikowsky
was lacking in power of organic treatment. The connection be-
tween the Development and the Recapitulation is skilfully man-
aged and the third part does not bore us but is welcomed as
something we would gladly hear again. There is a long and
stormy Coda—a second development in true Beethoven style—
which finally endspppin the lowest depths of the orchestra, in
the same mood as the opening measures.
The second movement, Andante cantabile, con alcuna licenza,
with its melting theme on the solo horn,e.g.,
[Music]
—accompanied later by answering phrases on the clarinet—
might seem a bit too “luscious” were it not for the beauty and fin-
ish of the orchestration. The movement is in rather loose three-
part form—as the title would imply—the joints being somewhat