Following
Beethoven’s expansion of the symphonic model, composers of the Romantic period
(roughly 19th-century) sought to create longer and larger symphonies
with heightened passion. The number of composers and symphonies from this
period seems endless so we’ll focus on just a few major names in today’s
discussion.
At this point in
history, it was not uncommon to see an orchestra of over 200 people! Composers
began to expand movement lengths and some even added one or even two movements
to the standard four-movement model. Some composers used vocalists in their
symphonies (Mahler) while some attempted to create national idioms (Borodin,
Sibelius, Dvorak). Some created programmatic music that told audiences a story (R.
Strauss, Berlioz), while some created what is known as absolute music, sticking
to the standard symphonic tradition of music for music’s sake (Brahms,
Schumann, Schubert). Some composers even added non-orchestral instruments to
their works such as Saint-Saens in his Symphony No. 3 “Organ.”
Tchaikovsky’s
Symphony No. 4 is a great example of a symphony from the Romantic period. You
may remember it from the Cincinnati Symphony’s One City, One Symphony concert
this past fall. The symphony is dedicated to Tchaikovsky’s best friend and
patron, Mrs. Nadezhda von Meck, a wealthy widow with whom he passed many
letters but never met. It contains a program that assists audiences in
following the symphony’s message.
Tchaikovsky describes
the first movement of the Symphony No. 4 as having an introductory theme that
represents fate. This main theme returns throughout the work. During this
movement, Tchaikovsky depicts his desire to escape into daydreams rather than
facing the reality of life. The “fate” theme returns, however, reminding him of
the truth of his gloomy circumstances that may have included his failed
marriage to Antonina Miliukov or even his questions regarding his sexual
orientation.
The second
movement depicts feelings of melancholy, nostalgia, pain, longing, and
reflection on distant memories. The solo oboe at the beginning is meant to
portray a lonely person. A march in the middle of the movement takes the
listener away from the feelings of isolation exhibited thus far. The longing,
lonely melody always returns in various instrumentations.
The third
movement contains a series of arabesques that represent strange, unrealistic,
unconnected dreams. Many of the themes show-off a particular instrument’s
technique (example: piccolo solo).
The fourth
movement reflects the joy that comes from surrounding yourself with other
people when you are depressed (opening melody). To help depict the sense of community, Tchaikovsky uses
the Russian folksong “In the Field a Birch Tree Stood.” The reminder of fate
(main theme from first movement) always returns, however, bringing you back to
reality and discontentment.
Tchaikovsky
considered this his best symphonic work saying, "It seems to me that this
is my best work…What lies in store for this symphony? Will it survive long
after its author has disappeared from the face of the earth, or straight away
plunge into the depths of oblivion? I only know that at this moment I... am
blind to any shortcomings in my new offspring. Yet I am sure that, as regards
texture and form, it represents a step forward in my development..."
You can listen to
Tchaikovsky’s Symphony No. 4 here. How do you think Tchaikovsky expanded upon
the symphonic model built a century earlier?
