This theme, expanded (stringendo and crescendo) into a series of exciting climaxes fff leads, after some modulatory phrases derived from the transitional theme, to the Development which begins in B-flat major. Throughout this is a fine piece of work—with real thematic growth, bold modulations and no "padding." It should refute completely any erroneous opinion that Tchaikowsky was lacking in power of organic treatment. The connection between the Development and the Recapitulation is skilfully managed and the third part does not bore us but is welcomed as something we would gladly hear again. There is a long and stormy Coda—a second development in true Beethoven style—which finally ends ppp in the lowest depths of the orchestra, in the same mood as the opening measures.
The second movement, Andante cantabile, con alcuna licenza, with its melting theme on the solo horn, e.g.,
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—accompanied later by answering phrases on the clarinet—might seem a bit too "luscious" were it not for the beauty and finish of the orchestration. The movement is in rather loose three-part form—as the title would imply—the joints being somewhat obvious in certain places, e.g., measures 39-45. The themes, however, have that intensity peculiar to Tchaikowsky, and the original orchestral treatment, especially in the use of the horns, enhances their effect. The middle contrasting portion, starting in F-sharp minor, shows some very effective polyphonic imitations based on the following theme:
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At the climax of its development the motto is proclaimed fff in a most arresting manner—its effect being due to the unusual pedal point which makes a chord of the second with the upper voices, e.g.,