Peter Ilich Tchaikovsky

   Russian composer

   born: 25 April 1840, Votkinsk; died: 25 October 1893, St. Petersburg

             Symphony No.4 in F Minor, Op.36

                  Andante sostenuto; Moderato con anima

                  Andantino in modo di canzona

                  Scherzo: pizzicato ostinato

                  Finale: Allegro con fuoco

     While it is often said that Mozart composed with his heart in opera, we might also note that Tchaikovsky composed with his spirit in ballet. For example, some listeners feel that Tchaikovsky's first symphonic masterpiece was the current work, Symphony No.4, which was begun just after his ballet Swan Lake of 1876; in turn, Symphony No. 5 was concurrent with Sleeping Beauty of 1888; and, Symphony No.6, the Pathétique, was scored just months after the popular Nutcracker of 1892.

     Completed in 1878, Symphony No.4 is dedicated to the composer's long-time benefactress, Nadezhda von Meck. Strangely, as the famous story goes, they never met. However, their correspondence reveals a spiritual kinship which doubtless enabled Peter Ilyich to ward off the deep manic depressions which at times had even threatened his life. By coincidennce, his association with Madame Meck began just as the composer suffered the collapse of his marriage of only nine weeks. The fourth symphony was completed shortly afterward.

     Op.36 begins with a heralding call in the horns and trumpets, a theme which Tchaikovsky identified as the 'Fate motive' (with some reference to the opening rhythms of Beethoven's fifth symphony). This powerful fragment becomes the modus vivendi of the entire work, as many permutations of the motif can be heard echoing at many points along the way. Note also the splendid rise-and-fall interplay in the woodwinds after a deft interlude by the bassoon which chants over undercurrents of deeply vibrant strings. After some big orchestral development, this section reappears like magic near the end of the movement * we might say a kind of 'measured peace' prevails before imperious 'Fate' returns.

     Perhaps the most lyrical solo in the oboe literature is heard at the beginning of the second movement. Andante in the style of song is Tchaikovsky's cue. The tune is taken up by the strings and mirrored over dotted woodwinds. Note the dance-like interlude which follows, escorted by additional rise-and-fall snippets in the woodwinds. The entire principal tune is then recast in a breathless and tender moment for the solo bassoon.

     Speaking of dance, the prancing pizzicato which opens the third movement is marked Scherzo. Stand by for feisty and fleet jitters in the clarinet and piccolo, before a blink of the baton brings us back to the pizzicato game room. Serves and volleys are exchanged between the orchestral sections until a final pizz turns out the lights.

     But don't get too comfy - at hand is the air-shredding wail of the final Allegro. A tonal blizzard storms the set to announce what sounds like a Russian folk tune. But the music seems determined to purge bleak sadness, even as we are brought back to our senses with a souvenir of 'Fate.' For a moment the motion is blended into melancholy. Not to worry - the cathartic storm rips the sky once again, with little doubt as to what the outcome will be as the symphony draws to a close in a triumph of sheer joy.

program notes by Edward Yadzinsky