2013
Program Notes, Book 1 A9
finishing the first three movements before Antonina began her advances; the finale was
completed by the time he proposed. Because of this chronology, the program of the
Symphony was not a direct result of his marital disaster. All that — the July wedding,
the mere eighteen days of bitter conjugal farce, the two separations — postdated
the composition of the Symphony by a few months. What Tchaikovsky found in his
relationship with this woman (who died in a mental ward in 1917, still legally married to
him) was a confirmation of his belief in the inexorable workings of Fate in human destiny.
Tchaikovsky wrote, “The introduction [blaring brasses heard immediately in a motto
theme that recurs throughout the Symphony] is the kernel of the whole Symphony.
This is Fate, which hinders one in the pursuit of happiness. There is nothing to do but
to submit and vainly complain [the melancholy, syncopated shadow-waltz of the main
theme, heard in the strings]. Would it not be better to turn away from reality and lull one’s
self in dreams? [The second theme is begun by the clarinet.] But no — these are but
dreams: roughly we are awakened by Fate. [A brass fanfare begins the development.]
The second movement shows another phase of sadness. How sad it is that so much has
already been and gone! It is sad, yet sweet, to lose one’s self in the past. In the third
movement are capricious arabesques, vague figures which slip into the imagination
when one is slightly intoxicated. Military music is heard in the distance. As to the finale,
if you find no pleasure in yourself, go to the people. The picture of a folk holiday. [The
finale employs the folk song A Birch Stood in the Meadow.] Rejoice in the happiness of
others — and you can still live.”
©2013 Dr. Richard E. Rodda
Wednesday, June 12, 2013
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