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Peter Ilyich Tchaikovsky
Fifth (5th) Symphony |  |
With all the unfailing flow of lesser melodies where the charm is often
greatest of all, and the main themes of each movement with a chain of
derived phrases, one melody prevails and reappears throughout. The
fluency is more striking here than elsewhere in Tchaikovsky. All the
external sources,--all the glory of material art seem at his command. We
are reminded of a certain great temptation to which all men are subject
and some fall,--however reluctantly. Throughout there is a vein of
daemonic. The second (Allegro) melody grows to a high point of
pathos,--nay, anguish, followed later by buoyant, strepitant, dancing
delight, with the melting answer, in the latest melody. The daemon is
half external fate--in the Greek sense, half individual temper. The end
is almost sullen; but the charm is never failing; at the last is the
ever springing rhythm.
The march rhythm of the opening Andante is carried suddenly into a quick
trip, Allegro con anima (6/8), where the main theme of the first
movement now begins, freely extended as in a full song of verses. New
accompanying figures are added, contrasting phrases or counter-melodies,
to the theme.
One expressive line plays against the wilder rhythm of the theme, with
as full a song in its own mood as the other. A new rhythmic motive, of
great charm, un pocchetino piu animato, is answered by a bit of the
theme. Out of it all grows, in a clear welded chain, another episode, where the old rhythm is a mere gentle
spur to the new plaint,--molto piu tranquillo, molto cantabile ed
espressivo.
To be sure, the climax has all of the old pace and life, and every voice
of the chorus at the loudest. In the answering and echoing of the
various phrases, rhythmic and melodic, is the charm of the discussion
that follows. Later the three melodies come again in the former order,
and the big climax of the plaintive episode precedes the end, where the
main theme dies down to a whisper.
After preluding chords in lowest strings a solo horn begins a languishing song, dolce con molto espressione. It is a wonderful elegy, a yearning without hope, a swan-song of desire, sadder almost
than the frank despair of the Finale of the Pathétique
symphony,--pulsing with passion, gorgeous with a hectic glow of
expressive beauty, moving too with a noble grace. Though there is a foil
of lighter humor, this is overwhelmed in the fateful gloom of the
returning main motto.
The abounding beauty with all its allurement lacks the solace that the
masters have led us to seek in the heart of a symphony. The clarinet
presently twines a phrase about the tune until a new answer sounds in
the oboe, that now sings in answering and chasing duet with the horn.
The phrase of oboe proves to be the main song, in full extended
periods, reaching a climax with all the voices.
Well defined is the middle episode in minor reared on a new theme of the
clarinet with an almost fugal polyphony that departs from the main lyric
mood.
At the height all the voices fall into a united chorus on the original
motto of the symphony. The first melodies of the Andante now return with
big sweep and power, and quicker phrases from the episode. The motto
reappears in a final climax, in the trombones, before the hushed close.
We must not infer too readily a racial trait from the temper of the
individual composer. There is here an error that we fall into frequently
in the music of such men as Grieg and Tchaikovsky. The prevailing mood
of the Pathetic Symphony is in large measure personal. Some of the more
recent Russian symphonies are charged with buoyant joyousness. And,
indeed, the burden of sadness clearly distinguishes the last symphony of
Tschaikowsky from its two predecessors, the Fourth and the Fifth.
The tune of the valse, Allegro moderato, is first played by the
violins, dolce con grazia, with accompanying strings, horns and
bassoon. In the second part, with some loss of the lilt of dance, is a
subtle design--with a running phrase in spiccato strings against a
slower upward glide of bassoons. The duet winds on a kind of crescendo
of modulations. Later the themes are inverted, and the second is redoubled in speed. The whole
merges naturally into the first waltz, with a richer suite of adorning
figures. The dance does not end without a soft reminder (in low
woodwind) of the original sombre phrase.
Almost for the first time a waltz has entered the shrine of the
symphony. And yet perhaps this dance has all the more a place there. It
came on impulse (the way to visit a sanctuary), not by ancient custom.
But with all its fine variety, it is a simple waltz with all the
careless grace,--nothing more, with no hidden or graphic meaning (as in
Berlioz's Fantastic Symphony).
The middle episode, though it lacks the dancing trip, is in the one
continuing mood,--like a dream of youthful joys with just a dimming hint
of grim reality in the returning motto.
In the Finale the main legend of the symphony is transformed and
transfigured in a new, serener mood, and is brought to a full melodic
bloom. Indeed, here is the idealization of the original motto. Andante
maestoso it begins in the tonic major. When the theme ceases, the brass
blow the rhythm on a monotone, midst an ascending obligato of strings.
In answer comes a new phrase of chorale. Later the chorale is sounded
by the full band, with intermediate beats of rhythmic march.
Once more there is a well-marked episode, with a full share of melodic
discussion, of clashing themes, of dramatic struggle. First in the tonic
minor a theme rises from the last casual cadence in resonant march,
Allegro vivace. Then follows a duet, almost a harsh grating of an eccentric figure above against the smoother course of the latest Allegro motive. The themes are
inverted. Presently out of the din rises a charming canon on the
prevailing smoother phrase, that soars to a full sweep of song. A new hymnal melody comes as a final word. Though the main motto returns in big chorus, in full extension, in redoubled pace and wild abandon, still
the latest melody seems to contend for the last say. Or, rather, it is a foil, in its simple flow, to the revel of the motto, now grown into a sonorous, joyous march. And we seem to see how most of the other
melodies,--the minor episode, the expressive duet--have sprung from bits
of the main text.
To return for another view,--the Finale begins in a mood that if not
joyous, is religious. Out of the cadence of the hymn dances the Allegro
tune almost saucily. Nor has this charming trip the ring of gladness,
though it grows to great momentum. As a whole there is no doubt of the
assurance, after the earlier fitful gloom, and with the resignation an
almost militant spirit of piety.
In the dulcet canon, an exquisite gem, bliss and sadness seem
intermingled; and then follows the crowning song, broad of pace,
blending the smaller rhythms in ecstatic surmounting of gloom. In
further verse it doubles its sweet burden in overlapping voices, while
far below still moves the rapid trip.
But the motto will return, in major to be sure, and tempered in mercy.
And the whole hymn dominates, with mere interludes of tripping motion,
breaking at the height into double pace of concluding strain. Before
falling back into the thrall of the legend the furious race rushes
eagerly into the deepest note of bliss, where in sonorous bass rolls the
broad, tranquil song. And though the revel must languish, yet we attend
the refrain of all the melodies in crowning rapture. Then at last, in
stern minor, sounds the motto, still with the continuing motion, in a
loud and long chant.
In blended conclusion of the contending moods comes a final verse of the
legend in major, with full accoutrement of sounds and lesser rhythm, in
majestic pace. And there is a following frolic with a verse of the
serene song. The end is in the first Allegro theme of the symphony, in
transfigured major tone.
We must be clear at least of the poet's intent. In the Fifth Symphony
Tchaikovsky sang a brave song of struggle with Fate.
Pyotr Ilyich Tchaikovsky Facts and Information
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