• Tchaikovsky composed a total of six symphonies for full orchestra. He wrote his Symphony No. 5 in the span of just 4 months in the summer of 1888. The arguably more popular Fourth and Sixth symphonies were written 10 years prior and 5 years later, respectively. The Fifth Symphony was premiered in St. Petersburg, conducted by Tchaikovsky himself, just 3 months after he completed it. He was 48 years old.
• Symphony No. 5 in E minor lasts for about 45 minutes and, as the Beethoven and Dvořák symphonies from our previous two broadcasts, is in four sections called movements. Each movement has its own unique characteristics and function, but similar to Dvořák’s Symphony No. 9 from last weekend, Tchaikovsky uses a cyclical technique of a recurring ‘motto’ theme in each movement which ties the whole piece of music together.
• Despite initial critical responses being mixed, Tchaikovsky’s Symphony No. 5 has enjoyed overall success and enduring popularity. It became especially popular to perform and record during World War II as a symbol of triumph over conflict.
• Like the “Goin’ Home” melody from Dvořák’s Ninth Symphony, the primary melody from the second movement of Tchaikovsky’s Fifth Symphony inspired songwriter/arrangers Andre Kostelanetz, Mack David, and Mack Davis to set words to it, creating the song “Moon Love”. This song was recorded by many jazz giants of the day, but most famously was arranged by Nelson Riddle for Frank Sinatra’s 1966 album Moonlight Sinatra.
  
  Principal Horn Michael Thornton performs the famous solo here:
  
  
• Tchaikovsky’s score calls for 3 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and the usual large string section of violins, violas, cellos, and basses. No signature splashy cymbals, nor any percussion other than timpani in this one!

• Movement 1
• Movement 2
• Movement 3
• Movement 4

Despite the overall success and enduring popularity of the Fifth Symphony, initial critical responses weren’t great. One Russian critic managed to be blunt and yet still positive – “The Fifth Symphony is the weakest of Tchaikovsky’s symphonies, but nevertheless it is a striking work, taking a prominent place not only among the composer’s output but among Russian works in general.” A downright fiery complaint came from a Boston reviewer, regarding the Finale movement, “The furious peroration sounds like nothing so much as a horde of demons struggling in a torrent of brandy, the music growing drunker and drunker. Pandemonium, delirium tremens, raving, and above all, noise worse confounded!” Following the second performance Tchaikovsky wrote about the ending of the piece, “I have come to the conclusion that it is a failure.” However, after a year and many new performances he wrote “The Fifth Symphony was again performed magnificently, and I have started to love it again; my earlier judgement was undeservedly harsh.”

Consider resilience and the concept of failure as a doorway to success.

• Can you put yourself in Tchaikovsky’s shoes?
• What do you think might have contributed to his ability to overcome self-doubt and harsh criticism of his creative work?

Tchaikovsky is well known for his dramatic works such as the ballet Swan Lake and opera Queen of Spades. Much of his symphonic literature seems to rely on a well-developed sense of drama, even though it is non-programmatic (doesn’t support a storyline or linear concept). This symphony is full of intense dramatic moments as well as lighter ones.

Let’s explore some ways in which Tchaikovsky conveys these moods or dramatic moments in his Fifth Symphony.

1. Lead a discussion or consider how music can convey drama. Focus on elements such as tempo (speed), rhythms, dynamics (loudness/softness), and orchestration (instrument choices and combinations). For example, what instrument(s) might best be used to evoke surprise? What dynamics would you choose to represent action, or a moment of great suspense? What kinds of rhythms might best convey joy or sorrow? If possible, write down some of these answers and ideas for comparison to Tchaikovsky’s later when you listen to the performance.
2. Consider making transitions from one mood or dramatic moment to another using some of the ideas generated in the first exercise. How can we effectively “get from here to there” musically? What might two very contrasting moments require that similar ones might not? Sudden shifts? A break in sound? Could the transition itself be thought of as a dramatic moment? In what ways?
3. Have some creative fun! Brainstorm a basic description of two musical moods and the transition between them. [For example: angry fast music in the whole orchestra which becomes slow and more sparse until only the clarinet and triangle are left playing a simple tune]. Now lead your group (however big or small!) through an improvisation of your description using clapped rhythms, instruments (homemade is okay!), or voices. This may take some planning, but doesn’t need to achieve “perfection” in order to work. In fact, the sillier and/or more dramatic the better!

Now that you’ve had a chance to consider, discuss, and get active around elements of Tchaikovsky’s Fifth Symphony it’s time to listen to the Colorado Symphony performance. There are all sorts of ways to engage as a listener, especially when listening at home instead of the concert hall. Sing along to the melodies as your ear learns them, move and dance to the unique rhythms and character of each movement, listen for the way instrument sounds are woven together and pieced apart, observe how dramatic moments are created, or just turn the volume up and listen for sheer pleasure!

Have a discussion afterward.

• How does this music make you feel? What musical details or techniques evoked those feelings for you?
• Did your ears notice anything in particular that was surprising, soothing, exciting, expected?
• Is it time to get a better set of speakers so you can pump up the Colorado Symphony jams even more?