obvious in certain places,e.g., measures 39-45. The themes,
however, have that intensity peculiar to Tchaikowsky, and the
original orchestral treatment, especially in the use of the horns,
enhances their effect. The middle contrasting portion, starting
in F-sharp minor, shows some very effective polyphonic imita-
tions based on the following theme:
[Music]
At the climax of its development the motto is proclaimedfff in
a most arresting manner—its effect being due to the unusual
pedal point which makes a chord of the second with the upper
voices,e.g.,
[Music]
The third part with slight expansions corresponds to the first.
At its close, just before the Coda, we have a second appearance
of the motto—this time, on account of the fierce dissonances,
with even more sinister effect.[313] The closing measures are of
great beauty by reason of the imitations on the strings and the
dreamy, reminiscent phrase on the clarinets,e.g.
[Music]
[Footnote 313: The passage has already been cited in Chapter
IV as an example of a deceptive cadence.]
The third movement, a Waltz, with a graceful theme, in clear-
cut three-part form, needs little comment. If any one consid-
ers it too light or even trivial for a place in a symphony he
might study the individual orchestration and then try to com-
pose one like it! The second and third parts are ingeniously
fused together—Tchaikowsky following the practise of Mozart,
his favorite master, in the first movement of the G minor Sym-
phony. In the Russian philosophy of life, however, there is no
such thing as perpetual joy; so, even amid scenes of festivity,
the motto obtrudes itself as if to ask “What right have you to
be dancing when life is so stern and grim?” See measures 23-28
from end of movement.
[Music]
The Finale, in complete sonata-form and laid out on a large
scale, for several reasons is of distinct significance. It is a care-
fully plannedrésumé of preceding themes; it contains several