Tchaikovsky: Symphony No. 5 in Em

I had a hard time sleeping last night so I went over to my sister’s old room (where all my records are now) and picked up the first Tchaikovsky record I could find (I only have his symphonies 4-6 on vinyl) since it was dark and I didn’t want to make too much noise. I put it on the finale for this symphony (Symphony No. 5 in Em) and was astonished at the difference in everything from tone, melody to overall structure in comparison to his final symphony.

While the last movement again as some difficulty with the major coming through the minor, many have depicted this as Tchaikovsky’s way of showing “victory through failure” or “triumph in strife.” Mostly, it’s a propulsive and driving finale that showcases just how strikingly passionate and skillful Tchaikovsky was. And the closing breakthrough, with the melody brought out by different instruments is still very powerful.

But the second movement, especially, has to be one of the most gorgeous representations of what a melodic horn line is supposed to be. Not only is it richly colorful but here, Tchaikovsky has crafted something both illustriously grand and vividly clear. The violins trade off with the horn but in terms of its remarkable scope, it’s still one of my favorite melodies. Videos for each follow below (with the video for the fourth movement a crazy good version conducted by Bernstein,) please check them out and I promise to post some ‘more interesting’ music soon. – Bryan

Movement Two: Andante cantabile, con alcuna licenza (DM)


Movement Four: Andante maestoso – Allegro vivace (EM>Em>EM)

Tchaikovsky: Symphony No. 6 in B minor, Pathétique

I studied Thcaikovsky’s Symphony No. 6 in B minor, Pathétique extensively so I am sure I am biased but I also can’t help feeling as if it’s wrongly overlooked when it is, very honestly, such a beautiful composition. And, for me at least, it holds such a weighty amount of emotions and passions for Tchaikovsky to go on and title it as his Pathétique symphony, which roughly translates to “passionate” or “emotional.”

He had a hard time writing it, continuously stating that he could not create good music; he had written an earlier version before trashing it and once he got to work on this finished version, he vowed to finish it. Part of the mystery regards what the symphony is actually aiming to achieve. It was dedicated to Tchaikovsky’s nephew, of which he was known to be involved with, though never out in the wide open. Some have speculated that it is about their doomed relationship and others, like me, see it as Tchaikovsky’s suicide note: his last gift of music, which he premiered only nine days before his death.

The symphony’s music is utterly exceptional with every movement being even better than before. The first one marks a sonata-allegro form where Tchaikovsky shifts from Bm to the BM, while always maintaining a dark and gloomy mood. The second movement is interesting because that 5/4 meter easily suggests a waltz but this is much livelier. The third movement is very deceptive because it’s too dissonant to be a march, much too upbeat to be a waltz and it revolves around two themes.

And finally the final movement is an Adagio (entirely different for what symphonies called for). The movement is a moving, rousing one (check out those chords from the bassoon around the first quarter mark) that always stays in the original Bm before ending on a solemn, quiet ending. Here is that Finale from the sixth symphony, with Charles Dutoit conducting the impeccable NHK Symphony Orchestra from Tokyo, Japan. – Bryan