P. I. TCHAIKOVSKY: SYMPHONY NO. 5 IN E MINOR, OP. 64

PYOTR ILYICH TCHAIKOVSKY
SYMPHONY NO. 5 IN E MINOR, OP. 64

If Beethoven’s Fifth Symphony is often described as Fate knocking at the door, then Tchaikovsky’s Fifth may be understood as an attempt to break free from that very Fate. The idea of “Fate” is encapsulated by Tchaikovsky in a recurring motif—a unifying theme that runs through all four movements of the symphony. This concept had preoccupied him for many years, and in the summer of 1888, following a European tour, he poured his reflections into this work.

After completing the symphony, the composer himself was deeply self-critical, describing it as “overwrought, bombastic, insincere, confused…”. However, after a performance in Germany in 1889, Tchaikovsky regained confidence: “The musicians let the music flow… I no longer think it is bad and have come to love it. My earlier judgment was too harsh.” With the Fifth Symphony, both performers and audiences came to recognize not only its musical beauty but also the composer’s sensitive soul and its central idea: “Fate is something that is always ready to prevent us from attaining happiness.”

To convey his thoughts clearly, Tchaikovsky provided highly detailed tempo and expressive markings for each theme in every movement. Through contrasts in tempo and character, listeners can follow the development of these ideas:

Movement I
The clarinet and strings introduce the Fate theme at the very beginning, marked Andante (slow), in a subdued atmosphere, as if expressing a deep inner sorrow in the face of an inescapable destiny. This theme recurs throughout the symphony as a unifying element.

As the tempo shifts to Allegro con anima (fast, with spirit), the sonata-form structure begins. The first theme is initially presented by the clarinet and bassoon, gentle and fresh, like a soft breeze, then taken up by the strings, followed by a dialogue among instrumental groups.

The second theme is introduced by the strings, interwoven with two-note figures in the woodwinds, echoing like birdsong.

Midway through the movement, a new idea appears unexpectedly: after a strong pizzicato chord in the strings, a repeated two-note motif in the winds resonates. As the texture softens, a secondary theme in the strings restores a sense of calm in Molto più tranquillo (much more tranquil).

The movement begins in somber E minor, passes through a turbulent journey, and closes in a more stable major key.

Movement II
This is one of Tchaikovsky’s most lyrical and Romantic movements. Both the introduction and first theme are marked Andante cantabile con alcuna licenza (slow, song-like, with freedom).

The movement opens with somber harmonies in B minor.

Soon after, the first theme emerges in D major, carried by the warm, nostalgic tone of the solo horn.

This theme has the sweetness of a love song, further enriched by the supporting and echoing lines of the woodwinds. Through Tchaikovsky’s orchestration, a simple melodic idea grows into a deeply expressive and passionate statement, characteristic of Romanticism.

The second theme contrasts in a more flowing motion (Con moto), presented in a call-and-response between horn and oboe. A third theme appears in the clarinet, marked Moderato con anima (moderate, with spirit).

Toward the end of the movement, the Fate theme returns, now reinforced by the brass, dispelling the earlier lyrical haze.

Movement III
The third movement, marked Allegro moderato (moderately fast), follows a ternary form. The opening section presents three graceful waltz-like themes in a bright major key, played by violins, oboe, and bassoon.

This rich and varied use of orchestral color is also characteristic of Tchaikovsky’s ballet music. The contrasting Trio section shifts to a minor key, featuring lively violin passages.

At the end of the movement, the Fate theme returns in the darker tones of clarinet and bassoon, set against a pizzicato waltz in the strings. It recalls the opening of the symphony, yet carries a playful scherzo character through displaced accents.

Movement IV
Structurally, the final movement mirrors the first. It opens with an Andante maestoso (slow and majestic), where the clarinet, bassoon, and strings present the Fate theme in a major key.

Compared to the somber opening of the first movement, the Fate theme here is transformed—more noble and solemn.

As the timpani rolls intensify, the music moves into Allegro vivace (fast and lively), bursting with energy. The first theme is grand and powerful, like a forceful march.

The second theme is more lyrical and flowing, passed among the woodwinds—oboe, clarinet, bassoon—and later the strings.

A secondary theme appears in flute, oboe, and clarinet, more relaxed in character compared to the preceding energy.

Overall, the final movement resembles a confrontation between Fate and human will. In the conclusion, the once tragic Fate theme is transformed into a triumphant march.

The emotional intensity reaches its peak in the closing coda, where the full orchestra (tutti) plays at a dynamic marked ffff—an exceptional indication beyond the conventional maximum of fff. The symphony ends in a resounding affirmation, with the brass leading a brilliant and celebratory conclusion.

Symphony No. 5 reveals a shift in Tchaikovsky’s view of Fate: no longer an oppressive, inescapable force as in his Fourth Symphony, but something that can be overcome through struggle—allowing humanity to ultimately attain happiness.

Mai Hạnh, October 2022.