ensity peculiar to Tchaikowsky, and the original orchestral
treatment, especially in the use of the horns, enhances their effect.
The middle contrasting portion, starting in F-sharp minor, shows some
very effective polyphonic imitations based on the following theme:

[Music]

At the climax of its development the motto is proclaimed _fff_ in a
most arresting manner--its effect being due to the unusual pedal point
which makes a chord of the second with the upper voices, _e.g._,

[Music]

The third part with slight expansions corresponds to the first. At its
close, just before the Coda, we have a second appearance of the
motto--this time, on account of the fierce dissonances, with even more
sinister effect.[313] The closing measures are of great beauty by
reason of the imitations on the strings and the dreamy, reminiscent
phrase on the clarinets, _e.g._

[Music]

[Footnote 313: The passage has already been cited in Chapter IV as an
example of a deceptive cadence.]

The third movement, a Waltz, with a graceful theme, in clear-cut
three-part form, needs little comment. If any one considers it too
light or even trivial for a place in a symphony he might study the
individual orchestration and then try to compose one like it! The
second and third parts are ingeniously fused together--Tchaikowsky
following the practise of Mozart, his favorite master, in the first
movement of the G minor Symphony. In the Russian philosophy of life,
however, there is no such thing as perpetual joy; so, even amid scenes
of festivity, the motto obtrudes itself as if to ask "What right have
you to be dancing when life is so stern and grim?" See measures 23-28
from end of movement.

[Music]

The Finale, in complete sonata-form and laid out on a large scale, for
several reasons is of distinct significance. It is a carefully planned
_resume_ of preceding themes; it contains several examples of those
periods of depression or exultation (especially on a pedal-point) so
characteristic of the Slav, and lastly, there are pages of extreme
brilliancy. In fact, the orchestration throughout is of such
convincing power that it refutes any charge of sensationalism or mere
bombast. If to us the music seem unrestrained, unbridled, we are to
remember that the Russian temperament is prone to a reckless display
of emotion just as in their churches they like to "lay the colors on
thick." The movement begins with an extended prelude in which the
original som