Scan 5
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
28 lines. Read by computer on 26 September 2026. Printed page 6. See the scan on archive.org.
1minor concerto and B flat minor sonata, likewise the closing agitato of the second ballad).
3To this style of workmanship, Tchaikowsky's counterpoint and figuration is more nearly allied. This may be seen in his early works, such as the following bit from his "Tempest" fantasia, op. 18 (score p. 28), where Prospero raises a sudden storm (see Example 9):
5Arabe," from the "Nutcracker Suite," op. 72) (see Example 11):
7The Russian symphonist, with all his fondness for rich harmonies and genius for logically developing them, possessed in a remarkable degree the capacity of interesting himself as did Beethoven in a theme simple, sometimes commonplace (almost vulgar if you will—see the theme in Finale of the Night Symphony) and elaborating it until it became attractive, possibly beautiful and even sublime. The Russian, like his German prototype, would often take
9Also later (page 60) in the love episode (see Example 10):
11Here we notice that these rapidly played figurations are so finely wrought that they are beautiful and thoroughly satisfactory when rendered slowly.
13To the second class of harmonic themes we may trace many of Wagner's dramatic Leitmotive, but effective as they are we should so weary of their many recurrences were their treatment and development not worthy of their inception (see "Tristram and Isolda," opening fifteen measures of the prelude and first portion of scene fifth). Greig also frequently works on kindred lines (see the second part of main theme of op. 37, No. 1, the first part of the theme of the "Ballade," op. 24, and its variants), but whether his harmonic designs are the result of the play of moving voices or set chorals they are always logically worked out, and worthy of study. Tchaikowsky employs this second class of motive less frequently, but when he does he gives it some rhythmic as well as orchestral variety (see the dreamy harmonic design in the "Danse
15a figure then add a melody and to this associate a second theme.
17Note the remarkable contrapuntal treatment of the waltz in the serenade op. 48, also the inner voices added to the waltz movement in the E minor symphony.
19The second and third movements of the "Pathetic" are so full of this kind of work that it is impossible to suggest them all, but mention must be made of the almost miraculous flow of parts and singular harmoniousness. It seems almost as though the writer had more than his just share of available concords at his disposal.
21Although Tchaikowsky alludes to Beethoven more in the attitude of fear than affection, he had doubtless faithfully studied his works. Since the days of the model symphonist, no one has more thoroughly exploited every feature of a theme and presented it in such manifold ways as the great Russian. Observe, for instance, the unique "Pizzicato ostinato" in the fourth symphony, where every vestige of melody, rhythm and harmonic progression to be found in both themes is extended, transformed and modified in every conceivable manner. The themes are contrasted with each other (each being taken by a different group of instruments) then combined, then broken into bits à la Beethoven until there seems to be nothing more to be done with them.
23In his orchestration Tchaikowsky takes the utmost pain to secure that balance of parts so essential to a correct rendering and proper comprehension of the various voice progressions. At times, in order to effect this, one or more of the string groups are divided. Usually these groups play the same voice or part in octaves. (See fifth symphony, first, second and fourth movement, also the second fourth of the "Pathetic.") But in the third movement of the latter work all the groups are divided, furthermore, instead of playing in octaves they execute independent parts. But this does not clutter up the voice progressions, those played by the first violin being duplicated by the seconds an octave lower or at times by the violas, and even trebled by the 'cellos. (See Ex. 12). The doubling of a voice in the octave, also the strengthening of the same by duplication in three, four and even five octaves, is familiar since the time of Beethoven's "Ninth" symphony.
25But Tchaikowsky's method of splicing the various groups is, for the most part, novel, as may be seen by referring to Ex. 13 from the finale of the "Pathetic."
27At A the first violins doubled in the lower octave, are strengthened by the divided second violins. At B the same phrase is played in three registers by undivided first and
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