|
|
Peter Ilyich Tchaikovsky
Fourth (4th) Symphony |  |
Reverting to a great and fascinating question as to the content of art,
we may wonder whether this is not the real tragic symphony of
Tchaikovsky, in the true heroic sense, in a view where the highest
tragedy is not measured by the wildest lament. There may be a stronger
sounding of lower depths with a firmer touch (with less of a conscious
kind of abandon),--whence the recoil to serene cheer will be the
greater.
There is surely a magnificent aspiration in the first Allegro, a
profound knell of destiny and a rare ring of triumph. Underlying all is
the legend of trumpets, Andante sostenuto (3/4), with a dim touch
of tragedy. Opposite in feeling is the descending motive of strings,
Moderato con anima (9/8). First gently expressive, it soon rises in
passion to a climax whence an ascending motive, in lowest
basses, entering in manner of fugue, holds a significant balance with
the former. Each in turn rears a climax for the other's entrance; the first, lamenting, leads to the soothing hope of the second that, in the very passion of its refrain, loses assurance and ends in a
tragic burst.
Suddenly a very new kind of solace appears Dolce grazioso, in a
phrase of the clarinet that leads to a duet of wood and cantabile
strings, impersonal almost in the sweetness of its flowing song.
In such an episode we have a new Tchaikovsky,--no longer the subjective
poet, but the painter with a certain Oriental luxuriance and grace. It
is interesting to study the secret of this effect. The preluding strain
lowers the tension of the storm of feeling and brings us to the attitude
of the mere observer. The "movement of waltz" now has a new meaning, as
of an apparition in gently gliding dance. The step is just sustained in
leisurely strings. Above is the simple melodic trip of clarinet, where a
final run is echoed throughout the voices of the wood; a slower moving
strain in low cellos suggests the real song that presently begins, while
high in the wood the lighter tune continues. The ripples still keep
spreading throughout the voices, at the end of a line. The tunes then
change places, the slower singing above.
With all the beauty, there is the sense of shadowy picture,--a certain
complete absence of passion. Now the lower phrase appears in two
companion voices (of strings), a hymnal kind of duet,--ben sostenuto
il tempo precedente. Here, very softly in the same timid pace, enters a
chorus, on high, of the old sighing motive. Each melody breaks upon the
other and ceases, with equal abruptness. There is no blending, in the constant
alternation, until the earlier (lamenting) motive conquers and rises to
a new height where a culminating chorale sounds a big triumph, while the
sighing phrase merely spurs a new verse of assurance.
A completing touch lies in the answering phrase of the chorale, where
the answer of original motto is transformed into a masterful ring of
cheer and confidence.
As is the way with symphonies, it must all be sung and striven over
again to make doubly sure. Only there is never the same depth of lament
after the triumph. In a later verse is an augmented song of the answer
of trumpet legend, in duet of thirds, in slow, serene pace, while the
old lament sounds below in tranquil echoes and united strains. Before
the end, molto piu vivace, the answer rings in new joyous rhythm.
Somewhat the reverse of the first movement, in the second the emotional
phase grows slowly from the naïve melody of the beginning. Against the
main melody that begins in oboe solo (with pizzicato strings),
semplice ma grazioso, plays later a rising counter-theme that may recall an older strain. The second melody, in Greek mode, still does not depart from the naïve mood, or lack of mood. A certain modern trait is in this work, when the feeling vents and wastes itself and yields to an
impassive recoil, more coldly impersonal than the severest classic.
A sigh at the end of the second theme is a first faint reminder of the
original lament. Of it is fashioned the third theme. A succeeding climax
strongly brings back the subjective hue of the earlier symphony. A counter-theme,
of the text of the second melody of Allegro,--now one above, now the
other--is a final stroke. Even the shaking of the trumpet figure is
there at the height, in all the brass. Yet as a whole the first melody
prevails, with abundant variation of runs in the wood against the song
of the strings.
The Scherzo seems a masterly bit of humor, impish, if you will, yet on
the verge always of tenderness. The first part is never-failing in the
flash and sparkle of its play, all in pizzicato strings, with a
wonderful daemonic quality of the mere instrumental effect. Somewhat
suddenly the oboe holds a long note and then, with the bassoons, has a tune that is almost sentimental. But
presently the clarinets make mocking retorts. Here, in striking scene, all the brass (but the tuba) very
softly blow the first melody with eccentric halts, in just half the old
pace except when they take us by surprise. The clarinet breaks in with
the sentimental tune in faster time while the brass all the while are
playing as before. There are all kinds of pranks, often at the same
time. The piccolo, in highest treble, inverts the second melody, in
impertinent drollery. The brass has still newer surprises. Perhaps the
best of the fooling is where strings below and woodwind above share the
melody between them, each taking two notes at a time.
The first of the Finale is pure fanfare, as if to let loose the steeds
of war; still it recurs as leading idea. There is a kind of sonorous
terror, increased by the insistent, regular notes of the brass, the
spirited pace of the motive of strings,--the barbaric ring we often hear
in Slav music. At the height the savage yields to a more human vein of joyousness, though at the end
it rushes the more wildly into a series of shrieks of trebles with tramping of basses. The real battle
begins almost with a lull, the mere sound of the second tune in the
reeds with light strum of strings and triangle. As the theme is
redoubled (in thirds of the wood), the sweep of strings of the first
motive is added, with chords of horns. A rising figure is now opposed to
the descent of the second melody, with shaking of woodwind that brings
back the old trumpet legend. Here the storm grows apace, with increasing
tumult of entering hostile strains, the main song now ringing in low
brass.
In various versions and changes we seem to see earlier themes briefly
reappearing. Indeed there is a striking kinship of themes throughout,
not so much in outline as in the air and mood of the tunes. This seems
to be proven by actual outer resemblance when the motives are developed.
Here in a quiet spot--though the battle has clearly not ceased--is the
answer of old trumpet motto, that pervaded the first Allegro. There is a
strong feeling of the Scherzo here in the pizzicato answers of
strings. The second theme of the Andante is recalled, too, in the
strokes of the second of the Finale. In the thick of the fray is a
wonderful maze of versions of the theme, diminished and augmented at the
same time with the original pace. Yet it is all a clear flow of melody
and rich harmony. The four beats of quarter notes, in the lengthened
theme, come as high point like the figure of the leader in battle. A
later play of changes is like the sport of the Scherzo. This insensibly
leads to the figure of the fanfare, whence the earlier song returns
with the great joyous march.
The final height of climax is distinguished by a stentorian, fugal blast
of the theme in the bass, the higher breaking in on the lower, while
other voices are raging on the quicker phrases. It is brought to a
dramatic halt by the original prelude of trumpet legend, in all its
fulness. Though the march-song recurs, the close is in the ruder humor
of the main themes.
Pyotr Ilyich Tchaikovsky Facts and Information
Copyright 2004-2005 by Classical-Music-Opera.com, all rights reserved.
|
| |
| Listening to classical music is a passtime that can provide hours of excitement or quiet contemplation. Whether you prefer to attend a concert performance in person, listen to an audio cd or watch your favorite orchestra or opera company on dvd, a knowledge of the composer and facts and information about the provenance of various pieces enhances the experience. We offer these biographies, criticisms and essays in hope that your listening experience will be as enjoyable as possible. |
|
|
