For special comment we have selected Tchaikowsky's[312] Fifth Symphony in E minor since, being a union of Russian and Italian characteristics, it reveals that eclecticism so prominent in his style. It is also an admirable example of organic relationship between the movements. This symphony, like the Fourth, contains a recurrent motto of sombre nature in the minor mode which, appearing in the first three movements with some dramatic implication, is changed in the Finale to the major and used as the basis for a march of rejoicing. The first and last movements are in elaborate sonata-form; the second and third in three-part form. The Finale is one of the most striking examples in modern literature of a résumé of preceding themes and hence a convincing proof of the composer's constructive power. The symphony begins with a long prelude announcing the motto. Scored for clarinets, bassoons and low strings it shows vividly that peculiar impression which Tchaikowsky secured by using the lower ranges of the orchestra.
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The melody itself seldom moves above middle C, and its effect is enhanced by the quality of the clarinets in their chalumeau register. The first theme of the movement proper (beginning at the Allegro con anima), on the same harmonic basis as the motto and derived from it rhythmically, is given out pp by a solo clarinet and solo bassoon, accompanied by very light detached chords in the strings, e.g.
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This is elaborately and brilliantly developed until, in measure 79 (counting from the Allegro), we reach a transitional, subsidiary theme in B minor. This is followed by some striking sequences, exquisitely scored, and then (at un pochettino più animato) there is a quickened presentation of the transitional theme, interspersed by syncopated calls—on the horns and wood-wind—a presentation which introduces the second theme in D major, marked molto più tranquillo. This melody, sung by the violins against an obbligato in the wood-wind, is clearly Italian in its grace and suavity and establishes that wonderful contrast so prominent in Tchaikowsky—the warmth and exuberance of the South set against the grim austerity of the North.
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