Tchaikovsky - Symphony No. 6 'Pathetique' (1893)

Question 1

What time period does Tchaikovsky’s Symphony No.6 fall into?

Answer 1

Late Romantic (1893)

Question 2

How many movements are in Tchaikovsky’s Symphony No.6?

Answer 2

4 movements:
* Movement I - Adagio/allegro non troppo
* Movement II - Allegro con grazia
* Movement III - Allegro molto vivace
* Movement IV - Adagio lamentoso

Question 3

What is the woodwind used in Tchaikovsky’s Symphony No.6?

Answer 3

3 Flutes (3rd dbl. Piccolo)
2 Oboes
2 Clarinets in A
2 Bassoons

Question 4

What can be learned from the instrumentation of Tchaikovsky’s Symphony No.6?

Answer 4

It’s quite a modest orchestra for it’s time:
* There is use of mostly double woodwinds, but one additional flute to double on piccolo.
* Brass is akin to Beethoven-style instrumentation
* There is a use of Tuba to support lower end.
* Percussion is similar to Beethoven but there is use of a Tam Tam (type of cymbal) which is an interesting choice.

Question 5

What is the key of movement 1 in Tchaikovsky’s Symphony No.6?

Answer 5

Movement 1 - Em– Bm – D – Dm – C# – Bm– B

• The first movement begins in a different key for the introduction to the main first subject. It also ends in the parallel major.

Question 6

What can be observed about Tchaikovsky’s use of form in the Sixth Symphony?

Answer 6

He has a preference for sonata form. With the exception of movement 2, all other movements have some variation of sonata form.

Question 7

How does Tchaikovsky use melody in movement I of his Sixth Symphony?

Answer 7

• Tchaikovsky uses both short, fragmentary ideas and longer phrase like melodic ideas in this symphony – the opening movement I uses short fragments during the introduction developed into a longer theme for first subject.
• For the second subject in D Major, the melody has a wider tessitura and is more ‘phrase-like’ than fragments.
• Tchaikovsky would regularly develop his ideas, particularly when you consider the end of the development section of Movement 1 being a variation on the initial 4 note idea.

Question 8

How does Tchaikovsky use harmony in the Sixth Symphony?

Answer 8

• He favours the use of half-diminished 7th chord to start sections – development of movement 1, start of finale G#o7.
• In the finale movement, there is successive uses of suspensions and appoggiaturas to add a sense of despair in the music. There is also a significant presence of extended 7ths and half diminished 7th in the opening of movement IV.
• Use of Neapolitan relationships in Movement IV in the B section – Bm – C major.

Question 9

Why is the sonata form of movement I quite unusual?

Answer 9

Movement I has a recapitulation that is a part of the development section – only the second subject returns as normal.

Question 10

Broadly speaking, how does Tchaikovsky use texture in the Sixth Symphony?

Answer 10

• Tchaikovsky has a tendency to favour a mixture of both polyphony and melody dominated homophony in Symphony No. 6

Question 11

Why is movement II unique in terms of time signature?

Answer 11

It’s known as the ‘limping waltz’ - it’s a dance in 5/4 with an extra beat.

Question 12

What brass instruments are used in Tchaikovsky’s Symphony No.6?

Answer 12

4 horns
2 trumpets
3 trombones
1 Tuba

Question 13

What percussion instruments are used in Tchaikovsky’s Symphony No.6?

Answer 13

Timpani
Bass Drum
Cymbals
Tam Tam

Question 14

What is the key of movement 2 of Tchaikovsky’s Symphony No.6?

Answer 14

Movement 2 - D major – B minor – D major

• Movement 2 is in the relative major, with some hints back to the tonic in the middle section.

Question 15

What is the key of movement 3 of Tchaikovsky’s Symphony No.6?

Answer 15

Movement 3 - G – E – G – D – G

• Movement 3 is in the submediant key

Question 16

What is the key of movement 4 in Tchaikovsky’s Symphony No.6?

Answer 16

Movement 4 - Bm– D – C – Bm

• Movement 4 returns to the tonic.

Question 17

What is the musical form of movement 1 of Tchaikovsky’s Symphony No.6?

Answer 17

Movement 1 - Sonata Form

Question 18

What is the musical form of movement 2 of Tchaikovsky’s Symphony No.6?

Answer 18

Movement 2 - Ternary Form

Question 19

What is the musical form of movement 3 of Tchaikovsky’s Symphony No.6?

Answer 19

Movement 3 - Sonatina Form – Sonata form without the development section [modified sonata form]

Question 20

What is the musical form of movement 4 in Tchaikovsky’s Symphony No. 6?

Answer 20

Movement 4 - Sonata-Rondo Form – A-B-A-C-A-B

Question 21

How does Tchaikovsky use melody in movement II of his Symphony No. 6?

Answer 21

• In Movement II – Longer melodic phrases used for the start of his waltz in 5/4 but during the B section, the motion is more conjunct and the emphasis moves from melodic - harmonic.

Question 22

How does Tchaikovsky use melody in Movement III of his Symphony No. 6?

Answer 22

• In Movement III – With the exception of the second subject, which is a rather short idea, the music is driven by contrapuntal ideas that are rather scalic/sequenced patterns.

Question 23

How does Tchaikovsky use melody in Movement IV of his Symphony No. 6?

Answer 23

• In Movement IV, due to the sombre and heart wrenching nature, Tchaik uses longer melodies with clearer directionality leading to cadential ideas.

Question 24

How does Tchaikovsky use tonality in his Symphony No.6?

Answer 24

• In terms of tonality, Tchaikovsky makes some changes to the tonal plan (middle 2 movements in contrasting keys, even though there is some reprise of Bm in mvt.2)
• There is a use of modulation to some distantly related keys – in Mvt. 1 (Em (1#) to C# Major (7#)
• The sixth symphony is his only symphony to not use ‘from darkness to light’ movement from minor to major tonality in final movement.

Question 25

Where does Tchaikovsky use polyphonic textures in his Sixth Symphony?

Answer 25

• Of particular note, is the use of polyphony in the development section of movement I and it is the dominant texture for most of movement 3.

Question 26

How does Tchaikovsky use the orchestra to affect the mood of his Symphony No. 6?

Answer 26

• Due to Tchaikovsky significant shift in moods and character, the orchestra is regulary used movement from minimal to maximal formats. Note the use of string only textures to begin Movement IV, moving to full orchestral tuttis moving to low brass chorales at the end.

Question 27

How does Tchaikovsky use melody to drive the texture in the Sixth Symphony?

Answer 27

• Melody will dictate the dominant texture. When Tchaikovsky wants to be more lyrical and have a longer ‘phrase-like’ melody the music will be geared towards homophony.
• When the melodies are shorter/fragmented, he tends to favour polyphony. This is evident in movement I (Second Subj.) and movement II pening theme where the accompaniment material is simplified to allow the melody to have prominence.

Question 28

How does Tchaikovsky develop short musical ideas in the Sixth Symphony?

Answer 28

• A common feature of Russian music, relating to texture, is the continual orchestral development of short ideas. This involves trying the themes in different instrument grouping and orchestrations. This contributes towards sonorous changes. Note of the Introduction of movement I and the continual changes in instruments and accompaniment of the same initial first subject fragment