t is in complete sonata form and
for finished architecture will stand comparison with any use of that
form. The themes are eloquent, well contrasted and organically
developed. The orchestration is a masterpiece.[311] The second
movement is the one famous for its use of five beats a measure
throughout; and its trio, on a persistent pedal note D, is a striking
example of the Russian tendency to become fairly obsessed with one
rhythm. It is an intentional, artistic use of monotony and may be
compared to the limitless Russian Steppes. If it seem strange to
Western Europeans, it should be remembered that the music is Russian
and portrays a mood perfectly natural to that people. The third
movement is a combination of a scherzo and a march--of a most
unbridled fury. The Finale is a threnody, one of overpowering grief,
the motto of which might be "vanity of vanities, all is vanity." It
abounds in soul-stirring orchestral eloquence and invariably makes a
deep impression.

[Footnote 310: For further comment see the Life of Tchaikowsky by Rosa
Newmarch.]

[Footnote 311: As may be seen by the number of illustrations from it
in text books!]

For special comment we have selected Tchaikowsky's[312] Fifth Symphony
in E minor since, being a union of Russian and Italian characteristics,
it reveals that eclecticism so prominent in his style. It is also an
admirable example of organic relationship between the movements. This
symphony, like the Fourth, contains a recurrent motto of sombre nature
in the minor mode which, appearing in the first three movements with
some dramatic implication, is changed in the Finale to the major and
used as the basis for a march of rejoicing. The first and last
movements are in elaborate sonata-form; the second and third in
three-part form. The Finale is one of the most striking examples in
modern literature of a _resume_ of preceding themes and hence a
convincing proof of the composer's constructive power. The symphony
begins with a long prelude announcing the motto. Scored for clarinets,
bassoons and low strings it shows vividly that peculiar impression
which Tchaikowsky secured by using the lower ranges of the orchestra.

[Footnote 312: The authoritative work on Tchaikowsky is _The Life and
Letters_ by his brother Modeste; the abridged biography by Rosa
Newmarch should also be read. There are excellent essays in
_Mezzotints in Modern Music_ by Huneker; in Streatfield's volume
_Modern Composers_ and i