4th Movement
Themes
PT1: vl 1.
PT2:
ST:
As in the first movement, the exposition of the last movement begins in e-minor, and the D-major sonority struggles to establish itself. Unlike the first movement, this struggle manifests in brief tonicization of D-major, as well as V7 of D-major (mm. 86-90, mm. 106-114). The first attempt to resolve the accumulation of conflict (key oppositions, increasing harmonic rhythm, as well as segmentation and rapid changes of themes) takes place in m. 172, the re-introduction of the motto theme, in the wrong key (C-major).
The development is very brief and only lasts about 60 measures. In recapitulation, a new melody is super imposed over the PT1 texture. This melody, however it is new, exhibits characteristics of PT 2 (contour and initial succession of notes), as well as a chordal texture used elsewhere in the symphony that it does not necessary strike the listener as a new theme. This melody also never returns.
The 6th statement of motto theme is in e-minor, leading to an emphatic Perfect Authentic Cadence (PAC) in B major. It is perhaps unusual to see a PAC in the dominant to the home key at the end of the recapitulation, however, this could be interpreted, on a larger level, as a half cadence preparing for ever stronger return for the tonic. Coda, following such preparation succeeds in re-emphasizing the tonic, using different themes and many cadences in tonic. Some of the themes used here are the motto theme (m. 474), the countermelody to PT1 (m. 474, superimposed to the motto theme), PT2 (m. 504), and Pt1 from the first movement of the symphony.
Read more about this topic: Symphony No. 5 (Tchaikovsky), Analysis
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