TCHAIKOVSKY - Symphony No.5 in E minor

Symphony No.5 in E Minor (Opus 64)

Piotr Ilyich Tchaikovsky
(1840-1893)

When Tchaikovsky came to write his fifth symphony in 1888 it had been 11 years since his fourth, but he had not been idle during that time, having completed another symphony in all but name, Manfred and a number of other works. However it was with great personal doubt that he embarked on the fifth, fearing his compositional skills were failing, writing:

“I am dreadfully anxious to prove not only to others, but also to myself, that I am not yet played out as a composer”

However composition proceeded speedily. He started work on 18^th May 1888, by 22^nd June he had finished sketching and on 26^th August had fully orchestrated. The composer conducted the first performance himself in St. Petersburg on 17^th November 1888, then during the winter he toured Germany to perform it in a number of cities. On the whole it was very well received and the work established Tchaikovsky as a serious composer. In Hamburg he met Richard Strauss and Mahler (who would have just completed Titan, his own first symphony) and, while in Leipzig he met Brahms and Grieg, the latter with whom Tchaikovsky developed a particular friendship.

The work is dedicated to Theodor Avé-Lallemant, director of the Hamburg Philharmonic Society who had previously tried to persuade Tchaikovsky to settle permanently in Germany and become a good “German composer”. The style of the fifth symphony, more than any of his others shows a German influence (maybe in respect to Avé-Lallemant?) with a recurring Liszt-like motif binding the work together. That motif is believed to represent “Fate” and includes a direct quotation from Glinka’s opera, A Life for the Tsar where the words say “Turn not into sorrow”.

The symphony is scored for surprisingly modest orchestral forces with timpani being the only percussion. However Tchaikovsky uses those forces with the greatest of skill producing striking power and clarity.

Any fears Tchaikovsky had of failing compositional powers have proved clearly unfounded with his fifth soon becoming recognised as one of the greatest 19^th century symphonies. A 20^th century work claimed to be strongly influenced by it is Shostakovich seventh symphony, Leningrad with a close resemblance of themes and turns of phrase in its first movement.

I. Andante – Allegro con anima – The first sombre 37 bars hold the key to the whole symphony with the “Fate” motif being proclaimed by the clarinets and bassoons. We then enter a skipping Polish folk-song inspired dance which builds in intensity. The strings present the second subject which includes four more themes.

II. Andante cantabile, con alcuna licenza – Chords in lower strings introduce one of Tchaikovsky’s most haunting and memorable melodies played by solo horn, which induces a feeling of sorrow and loss. A second beautiful theme is introduced by the oboe and then a third by the clarinet. This rhapsodic episode is interrupted twice by the “Fate” motif interjecting forcefully. It is as if the subject of the “Fate” is frantic and struggling with the way forward. However a resolution seems to be reached and the movement ends peacefully, but with melancholy.

III. Valse: Allegro moderato – After the trouble of the previous two movements, all seems peaceful in this elegant and lilting waltz which includes contrasting ‘chatterbox’ episodes. There is an ominous recall of the “Fate” motif in the coda.

IV. Finale: Andante maestoso – Allegro vivace – Moderato assai e molto maestoso – Presto – The Finale opens with a majestic major-mode version of the “Fate” motif signalling complete rehabilitation. There is now a powerful new subject full of frenetic activity and a bustling march. The “Fate” theme interjects again twice in climaxes, but the symphony concludes in triumph.

Instrumentation (key to notation): 3/1 2 2 2 : 4 2 3 1 : T Str

Programme Notes by Jonathan Hodgetts