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The third part with slight expansions corresponds to the first. At its close, just before the Coda, we have a second appearance of the motto—this time, on account of the fierce dissonances, with even more sinister effect.[313] The closing measures are of great beauty by reason of the imitations on the strings and the dreamy, reminiscent phrase on the clarinets, e.g.
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The third movement, a Waltz, with a graceful theme, in clear-cut three-part form, needs little comment. If any one considers it too light or even trivial for a place in a symphony he might study the individual orchestration and then try to compose one like it! The second and third parts are ingeniously fused together—Tchaikowsky following the practise of Mozart, his favorite master, in the first movement of the G minor Symphony. In the Russian philosophy of life, however, there is no such thing as perpetual joy; so, even amid scenes of festivity, the motto obtrudes itself as if to ask "What right have you to be dancing when life is so stern and grim?" See measures 23-28 from end of movement.
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The Finale, in complete sonata-form and laid out on a large scale, for several reasons is of distinct significance. It is a carefully planned résumé of preceding themes; it contains several examples of those periods of depression or exultation (especially on a pedal-point) so characteristic of the Slav, and lastly, there are pages of extreme brilliancy. In fact, the orchestration throughout is of such convincing power that it refutes any charge of sensationalism or mere bombast. If to us the music seem unrestrained, unbridled, we are to remember that the Russian temperament is prone to a reckless display of emotion just as in their churches they like to "lay the colors on thick." The movement begins with an extended prelude in which the original sombre motto is transformed into a stately, march-like theme. This is presented twice with continually richer scoring and more rhythmic animation. The closing measures of the prelude are a specific instance of that protracted mood of depression spoken of above. The movement proper begins at the Allegro vivace with a fierce, impassioned theme,
