Peter Ilich Tchaikovsky - Symphony #2, op. 17 in C minor

 PYOTR ILYICH TCHAIKOVSKY
Born Vyatka province, Russia, 7 May 1840. Died St. Petersburg, 6 November 1893.
SYMPHONY NO. 2 IN C MINOR, OP. 17 "LITTLE RUSSIAN"
Composed in 1872 and first performed in Moscow in 1873. Revised in 1879-80. The score calls for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tam-tam (fourth movement only) and strings. The work lasts approximately 32 minutes.

Tchaikovsky wrote the Second Symphony at a time in his life when he was particularly interested in the songs and melodies of his Ukrainian homeland, which was sometimes known as "Little Russia." The composition incorporates a number of Ukrainian folk melodies. Tchiakovsky succeeds in combining the simplicity of the folk song with the complexity of the symphonic form, but it did not come easily for him. Despite the fact that the 1872 premier was a great success, the composer was unsatisfied until he made major changes to the symphony in 1879-80.

The first movement begins with a slow introduction which features the first Ukrainian folk tune. A dramatic chord is followed by the plaintive horn melody. The woodwinds introduce a contrasting, energetic variation which increases the sense of drama. The entire movement consists of the interplay of the original, lyrical theme and the contrasting, energetic motif.

The light, unassuming tune which opens the second movement is another Ukrainian folk song, also used as the Bridal March in the opera, Undine. Tchaikovsky takes the melody through various transformations, some more lyrical, some more dramatic, giving the song a sense of depth and complexity. It returns to its light, unassuming form to finish the movement.

The third movement is a scherzo, which literally means "joke." Accordingly the rushing runs cascade playfully. But Tchaikovsky also counterbalances the playful character of the runs with a dramatic gravitas.

The symphony's finale begins with heavy, monumental chords from the third folk song, and then repeats the melody in various forms against a constantly changing background. A contrasting lyrical section diverts our attention, until the melody returns with increasing dramatic excitement to the end.