Analysis
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Analysis - The overall trajectory of Tchaikovsky’s 5th Symphony reminds the listener of Beethoven’s 5th. To begin with, this symphony exhibits the narrative paradigm of per aspera ad astra (tragic to triumphant), which manifests as an overall tonal trajectory of e-minor to E-major. More details regarding struggle for tonal stability and triumph of E major is illustrated in the description of individual movements. As Beethoven’s 5th Symphony, the first movement fails to satisfy the per aspera ad astra paradigm and ends in minor mode, which allows the narrative to continue through the rest of the symphony. It will be inaccurate to say that the tonal trajectory of the first movement is directly projected onto the rest of the symphony, a similar tonal plan can be observed: 1st movement: i → V of relative major (D-major) → i → I The symphony: i → V of relative major (D-major) → IV → I The motto theme is not only used as a device to unify the four movements of the symphony but also projects the per aspera ad astra narrative of its own. e-minor (1st mvt) → V⁷ (V4/2) of D-major (2nd mvt) →g#⁰⁷ (2nd mvt) → a-major (3rd mvt) →E-major (4th mvt) →C-major → e-minor → E major
Read more about this topic: Symphony No. 5 (Tchaikovsky)
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