Form
The symphony is in four movements:
- Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo (F minor)
- The symphony opens with horns and bassoons sounding a loud A-flat in unison. After a descending line by the bassoon and low brass, the woodwinds and trumpets join with a higher A-flat. As the music solidifies into large, slow syncopated chords, Tchaikovsky unleashes the musical equivalent of lightning bolts: two short fortissimo chords, each followed by a long measure of silence. As the music ebbs away, the woodwinds hint at the main melody, which is properly introduced by the strings at the Moderato con anima. (The score at this point is marked "In movimento di Valse", as it is written in 9/8.) The melody develops quite rapidly. Much later in the movement, the same A-flat is played by the trumpets. This movement is marked by continual introductions of the Fate Motive, the A-flat phrase. The motive serves as a separation between each section of the sonata—allegro form. At around twenty minutes in length in some performances, this is one of the longest symphonic movements by Tchaikovsky. It is also just short of the length of the remaining movements combined.
- Andantino in modo di canzona (B flat minor)
- This movement is introduced by the melancholy melody of the oboe. The music's impassioned climax is a reminder of the grieving phrases that dominated the opening movement.
- Scherzo: Pizzicato ostinato — Allegro (F major)
- Strings play pizzicato throughout this movement. They are joined by the woodwinds later when an oboe's long, high A signals the start of the A-major Trio section. Later, the brass instruments come in, playing very quietly and staccato. The three groups (strings, woodwinds, and brass) are the only groups that play; there is no percussion in this movement except for the timpani, as in the previous movement. It ends quietly with pizzicato strings.
- Finale: Allegro con fuoco (F major)
- Here Tchaikovsky incorporates a famous Russian folk song, "In the Field Stood a Birch Tree", as one of its themes. In this movement, a hint of the A-flat of the first movement is present about halfway through, with the 'lightning bolts', with cymbals added, being much louder.
Read more about this topic: Symphony No. 4 (Tchaikovsky)
Famous quotes containing the word form:
“‘A thing is called by a certain name because it instantiates a certain universal’ is obviously circular when particularized, but it looks imposing when left in this general form. And it looks imposing in this general form largely because of the inveterate philosophical habit of treating the shadows cast by words and sentences as if they were separately identifiable. Universals, like facts and propositions, are such shadows.”
—David Pears (b. 1921)
“Let the same mind be in you that was in Christ Jesus, who, though he was in the form of God, did not regard equality with God as something to be exploited, but emptied himself, taking the form of a slave, being born in human likeness. And being found in human form, he humbled himself and became obedient to the point of death M even death on a cross.”
—Bible: New Testament, Philippians 2:5-8.
“A true poem is distinguished not so much by a felicitous expression, or any thought it suggests, as by the atmosphere which surrounds it. Most have beauty of outline merely, and are striking as the form and bearing of a stranger; but true verses come toward us indistinctly, as the very breath of all friendliness, and envelop us in their spirit and fragrance.”
—Henry David Thoreau (1817–1862)