Symphony in F Minor.
November 25, 1898.
The fourth symphony of Tchaïkovsky, which formed the principal orchestral work at yesterday's concert, is full of life and zest, affording an interesting glimpse of those powers which were destined to produce the "Pathetic" symphony. Composed some fifteen years earlier than the "Pathetic," the fourth symphony represents the composer in a very different mood, though with nearly the same technical powers. It is perhaps natural that the earlier work should be more cheerful; but, considering that the composer was thirty-eight years of age when he produced that earlier work, the music sounds curiously youthful. The difference between the style of the symphony given yesterday and the "Pathetic" is almost entirely of a kind that eludes analysis. It can only be stated broadly that in the "Pathetic" there is a depth and energy of feeling to be found in none but truly great works of art; also that there is mature style, appearing especially in the marvellous tact with which so much rich, highly coloured, and dangerous material is disposed. On the other hand, the earlier symphony, while strongly akin to the "Pathetic" in rhythmic and melodic invention, figuration, instrumentation, and device in general, is not only wanting in the tact of the mature artist, but shows the composer not under the influence of any strong feeling, and simply revelling in his powers of gorgeous orchestration, ingenious thematic work, and marshalling of tone masses with a view to picturesque effect. Tchaïkovsky is nearly always martial in one part or another of an orchestral work. In the great symphony the first movement has a ferocious section suggesting actual slaughter, while the greater part of the third movement is an elaborate military pageant. The work given yesterday leads off with martial strains, which recur several times in the first movement and again in the last. The first movement also exemplifies the composer's practice of bringing in a good deal of development immediately after the statement of a theme, instead of waiting for the development section. Though every musical element is telling, the movement is too prolix. In the andantino it soon becomes apparent that the composer's mind is running on his national folk-melody, the second theme especially having a very strong flavour of Russian national music. The movement is short and very charming. Next one passes from song to dance, the scherzo being a kind of Cossack dance orchestrated in the most piquant style, the strings playing pizzicato throughout. Here again the composer is irresistible. The music is ballet-music, not worthy of a symphony, but it is so exhilarating that there has to be a "truce with grimace." And the finale? On a former occasion we have declared our view that none of Tchaïkovsky's music except his last symphony has dignity, but probably in no other quasi-serious work has he committed himself to such an astounding piece of rodomontade as is here used to conclude the symphony. The music enters like a voluble showman, beating a drum at the head of a procession, and assuring the crowd that never in this world has anything been seen quite so wonderful as that particular show. The show then proceeds, seeming to be concerned with national exploits which are all illustrated by the comments of the same voluble showman. A meritorious rendering was given of this amusing and in some respects instructive work. Many of the wind-instrument passages are very trying for the performers, especially in the case of the bass trombone, which in the last movement sometimes has to play as fast as the flute; but the players struggled manfully with these difficulties and did justice to the score.