Tchaikovsky: Symphony No. 4 in F minor, Op. 36 (with Score)

Pyotr Ilyich Tchaikovsky:
Symphony No. 4 in F minor, Op. 36, TH 27 (with Score)
Composed: 1877-78
Conductor: Evgeny Mravinsky
Orchestra: Leningrad Philharmonic Orchestra
00:00 1. Andante sostenuto - Moderato con anima (F minor)
18:45 2. Andantino in modo di Canzona (B♭ minor)
28:04 3. Scherzo. Pizzicato ostinato. Allegro (F major)
33:53 4. Finale. Allegro con fuoco (F major)
"I should not wish for symphonic works to come from my pen which express nothing and which consist of empty playing with chords, rhythms, and modulations. Should a symphony not express those things for which there are not words but which need to be expressed?" Tchaikovsky, on his F minor Symphony, in a letter to Taneyev in 1878.
All of Tchaikovsky's symphonies are wrenched from deep inside him and are titanic works of love. In his writings, he speaks of many of them as if they were living things -- the children he knew he otherwise would never have. The prince of these is the extroverted and wild Fourth Symphony.
By the end of 1876, Tchaikovsky had begun to sketch out his F minor symphony. He had also decided to marry, perhaps hoping for both social redemption and psychological catharsis. In the spring of 1877, one of his students, Antonina Milyukova, revealed herself to be hopelessly in love with him, and in July he married her. The marriage failed, and Tchaikovsky spiraled into a maelstrom of self-loathing such that he abused and then abandoned his wife, and made a half-hearted attempt at suicide. Nonetheless, Tchaikovsky continued work on the Fourth Symphony, perhaps finding escape from the misery of his life in the wonder of the music. In October of the year, his wealthy patroness, the Mme. Nadezhda von Meck, formalized a regular stipend to him. He seems to have drawn inspiration and emotional sustenance from their long-distance relationship, and by January of 1878 the work was finished.
The Fourth Symphony, although it followed the third by only three years, is suddenly decades, indeed generations ahead of the first three. Gone is Tchaikovsky's youthful naïveté, and in its place is a profound view of Man's insignificant place in a monstrous Universe. The work slams up against the boundaries of defiance, hope, resignation, and triumph and is both richly melodic and thunderously bombastic. Fate -- Tchaikovsky's lifelong adversary and tormentor -- suddenly has a voice, and it is heard in the blast of trombones, horns, and trumpets opening the symphony. Loud, insistent, devoid of warmth or vibrato, all of a note, it commands total attention and returns repeatedly throughout the first movement to quell even the briefest and most innocent passing thought of happiness. Among many candidates, this movement is one of Tchaikovsky's finest in terms of musical structure and emotional impact.
Still hopeful at the age of only 38, Tchaikovsky actually includes a movement of quiet contemplation and an incredibly effective pizzicato scherzo before setting free what may best be described as a great dervish of joy and celebration, which sweeps the listener away to breathtaking ecstasy. In Tchaikovsky's mind, no doubt this was how it had to be. As relentless and impersonal as is Fate, his defiance of and triumph over it had to be even greater. Advocates of a very few other great composers might argue, but the fact is Tchaikovsky, in his Fourth Symphony, spans Man's coming to grips with his place in the Universe as well as it has ever been done in symphonic music. The work was dedicated to von Meck but cryptically inscribed "To my best friend." The work premiered in February of 1878 in Moscow.

[@hendrik.stoops]

MOVEMENT I (Sonata Form) (Note how the fate motif anounces each section of the sonata form) 00:05 - *EXPOSITION:* 00:05 - Fate Motif (Introduction) 01:38 - Theme1 02:39 - Transition Theme (By fragmenting Theme 1) 03:58 - More Transition Material 04:42 - Theme 2 06:37 - Fragments of Theme 1 07:57 - Coda of the Exposition 09:04 - *DEVELOPMENT SECTION:* 09:04 - Fate Motif 10:06 - Theme 1 11:30 - Fate Motif 11:47 - Fate Motif 12:20 - Fate Motif 12:32 - *RECAPITULATION* 12:32 - Theme 1 Reduced 13:06 - Theme 2 Extended 15:40 - Coda Theme 16:13 - *CODA* 16:13 - Fate Motif 17:13 - Coda 18:10 - Theme 1 Dramatic 18:30 - End MOVEMENT II (Ternary Form) 18:46 - *SECTION A* 18:46 - Theme A 20:30 - Rising Theme 21:08 - Theme 22:07 - Rising Theme 22:35 - *SECTION B* 24:16 - *SECTION A* 26:49 - Oboe Solo 27:28 - Coda MOVEMENT III (Scherzo and Trio) 28:04 - *SCHERZO* 29:49 - *TRIO* 31:14 - *SCHERZO* 32:58 - Coda MOVEMENT IV (Sonata Form with no development) 33:53 - Opening 34:05 - Small insight of the Theme 2 34:35 - *EXPOSITION:* (With Repeat) 34:46 - Theme 1 34:59 - Transition 35:18 - Theme 2 36:55 - Theme 1 37:09 - Transition 37:28 - Theme 2 38:44 - *FATE MOTIF* 40:03 - Theme 1 40:38 - *RECAPITULATION* 40:49 - Theme 41:05 - Theme 2 41:14 - *CODA*

[@mrtchaikovsky]

I would deem it more sensible to describe the finale as a rondo. It does not make much sense to speak of an exposition with repeat, since the second theme is each time in a different key (first in Bb minor, then in D minor). Maybe something like this: Introduction-A-B-A-B'-C-A'(fragment)-B''(fragment)-Coda Cheers!

[@samaritan29]

Thanks for the stamps(!)

[@marcosPRATA918]

Esclarecedor.

[@haoranzhou2944]

Movement IV is better described as Sonata Ronda Form than Sonata Form because of the repetitive theme 1(Primary Space). Overall form of the IV can be concluded as this: [A B AC B AC] [Development] [A Coda], for AC is the primary space of sonata form, and B is the secondary space. It's possible for rondo sonata form to have three times repeat of the primary space in exposition, but it's simply not possible for primary space to be repeated in exposition of sonata form.

[@haoranzhou2944]

@@mrtchaikovsky Simple Rondo Form can not describe the developmental character of this piece. Sonata Rondo form is probably the best choice here.

[@levandornis6665]

35:53 is so insane I love it

[@ethanos9026]

Literally my favorite part of the entire symphony

[@roadman373]

i hate playing that part as a second violin though 😭 it does sound fun however

[@danielramirez7827]

Nah i think 38:25 or 12:33

[@Someone2464-]

Agree.

[@Dylonely42]

One of my favorite symphonies ever.

[@loveclassicalmusicalot]

Fourth movement puts a smile on my face.

[@therealrealludwigvanbeethoven]

The second movement is absolutely gorgeous.

[@ValzainLumivix]

Ok.

[@therealrealludwigvanbeethoven]

@@ValzainLumivix 🤓

[@doodle2763]

I absolutely love this interpretation of the first movement. Sometimes it feels too dainty, like the brass are too concerned with perfect intonation and rounded tone. I think the brass here absolutely nailed the opening of the piece to Tchaikovsky’s liking. The tempo, phrasing, and dynamics convey emotion so powerfully, and the vast contrast in dynamics, tone, and emotion is extremely apparent in this recording. The recording quality unfortunately takes away some of the amazing-ness of this performance, but it’s still great nonetheless.

[@JonasReynolds]

If you find this recording on its own then the quality is great, the video is using a lower quality version for some reason. Just search "Leningrad Philharmonic Orchestra Tchaikovsky 4th Symphony" or something like that and it should pop up.

[@AndreyRubtsovRU]

Horns play like they are under the gunpoint

[@jacobbaker5442]

They probably were it's Leningrad

[@ashleeartus4154]

Fr though

[@somebody9033]

@@jacobbaker5442 There was more freedom in the Soviet Union than in your glorious America. Freedom of speech is the freedom to agree with today's woke nonsense, not the freedom to have your own opinion.

[@jacobbaker5442]

@@somebody9033 shut up nigga

[@taoxiaonan]

What

[@johnpcomposer]

Thank you. What a thrill to follow the score in this amazing work! A favorite of mine going back to the year 1975 when I was 12.

[@eyesandears6341]

Thank you from a great fan of Tchaikovsky and Mravinsky! If only the recording quality was as good as the performance, it would be the icing on the cake.

[@nilsfrederking62]

ai will solve that problem soon.

[@jdsarfo610]

I FINALLY FOUND IT OMFL IVE LOOKIN FOR THIS PEICE FOR SO LONG

[@danielramirez7827]

12:33 - Listen to the phrasing 17:12 - Again just listen to the phrasing 38:25 - Wow the strings and woodwinds are playing so fast and the brass is playing like the fate of the world rests on them

[@McGenji]

*Часть I* Сонатная форма Вступление - 0:05 Главная партия - 1:27 Побочная партия - 5:21 Заключительная партия - 6:28 Разработка - 9:04 Реприза, Главная партия - 12:32 Реприза, Побочная партия - 13:05 Реприза, Заключительная партия - 14:15 Кода - 16:12 *Часть II* Сложная трехчастная форма (с двойной двухчастностью в 1-й части) Первая часть A - 18:45 Средняя часть C - 22:35 Реприза A - 24:15 Кода - 26:49 *Часть III. Скерцо* Сложная трехчастная форма Первая часть A - 28:04 Средняя часть C - 29:49 Реприза A - 31:14 Кода - 32:57 *Часть IV. Финал* Рондо ABARA Вступление - 33:53 Рефрен А - 34:34 Эпизод В - 35:17 Рефрен A(1) - 36:43 Разработка - 37:27 Рефрен A(2) (Кода) - 40:00

[@user-qk7mr9dg1w]

0:49　c 3:23　e 4:43　三枚目転調 6:31 H 7:42 i 8:12 L9:23 m9:48 n 10:21 o 10:55 p11:31 q 12:11 r13:53 s15:01 t15:28u16:14　v16:35　リピート17:13 2楽章19:17　b21:05　tempo1 24:01 3楽章 28:07 最後33:53　35 34:46 b35:18 三枚目35:54　c36:05　e37:29　2段目くらい38:29　3/4 38:45 テンポ1 40:09　p19 40:39　271 41:09

[@littlewishy6432]

36:34 Score error 2: m. 111: The bassoons are supposed to have the exact same part as the oboes and clarinets. That somehow went missing, and that has also affected the bassoon parts from the Brucknerverlag version.

[@jsc5492]

I was so glad to find the wonderful recordings of the 4th, 5th and 6th Symphonies of Tchaikovsky conducted by the maestro (I use not the word lightly) Mravinski. In dedicating the symphony to his widowed lady patron, he started his middle age free from financial concerns.

[@lukewilson9585]

The most perfect rendition I’ve heard! ❤️❤️❤️❤️

[@jmbechtel]

So excited to see my local symphony perform this work in mid-June! 🎵🎶🎷🎹🎺🎻🥁🎶🎵

[@littlewishy6432]

24:40 Score error 1: An extra 100 was added to the measure numbers and affects the rest of the movement.

[@gracetate9391]

bassoon solo - 1st mvt 13:05 2nd mvt - 26:38 bassoon excerpt - 4:35

[@PepperWilliams_songcovers]

The last 9 bars sends chills up my spine even after hearing it over 1,000 times!❤❤❤❤❤❤❤

[@Sploinky_doinky]

This is one of my favorite symphonies ❤

[@nightshockplayz5894]

What an incredible thrill ride!

[@invinciblehorizon4599]

18:48 If anyone is wondering, its a bit rubato/free tempo because the conductor beats on the downbeats depending on the speed the soloist/cellists play but its around 132 = eighth note although the soloists and cellists add pauses so it wont be perfectly intime with a metronome

[@timothytiemgroot5136]

Tchaikovsky is said to have composed this in the aftermath of his failed marriage. Could all that brass and kettledrum, "fate", be the memory of his being screamed at, and constantly berated?

[@BlueMeeple]

Anyone else who just cannot hear or play the passage from bar 177 (8:29) to 193 without turning around the beat (so that the beat start to feel like the third 8th note) into the Beeth.7 rhythm?

[@levandornis6665]

Same! I guess you have to just roll with it...

[@nxyuu]

@@levandornis6665 until you have to play it and you can't find the downbeat...

[@edwardrichard3772]

Awsome !!!

[@bangtanarm3826]

IT IS SOOOO ❤

[@Jacob-iz6rr]

Viola except 21:06

[@slobodanradovanovic4792]

Bravo za note.

[@youmightveseenmycommentsbe7493]

time stamps for myself 8:01 - intonation 8:29 - rhythm 7:40 to 9:06

[@JJC333]

Does the first movement have harder hitting than the Finale?

[@Overwhelmingi]

34:35 excerpt 1 35:56 excerpt 2

[@RDL1984]

34:03 - 34:05, you're wellcome! #WYWH #PF

[@andrewanderson3016]

This should be fun

[@andrewanderson3016]

It was fun

[@05nakhwalmain]

7:40 excerpt

[@ethandexter9470]

Rehearsal S 14:57

[@tyr2114]

Excerpt 1: 7:40

[@user-ox6ox5xt1b]

21:04 2 часть 29:56 3 часть 37:28 4 часть

[@josephchen1199]

1:27 for ref

[@walterkujo7707]

3:31 to 3:51

[@tyr2114]

Excerpt 4 : 17:11

[@musickingsoon]

28:05~28:21

[@KatarnCrusader]

And disciplinary remains mercifully

[@amberugalde2872]

1. 7:35 2. 12:00 3. 17:35 4. 21:05 5. 35:50

[@feolaviola]

34:30 21:05

[@Poempedoempoex]

Trumpets are excited

[@muffin3682]

1:27

[@Dylonely42]

5:20 13:04

[@dawlims1334]

40:45

[@Seogyeomkim-Aiden299]

3:18 5:40

[@georgew4629]

Been too long since last time I heard this

[@alxnmxsic]

Tuba Excerpt 40:48

[@GeraldNorman-vq9je]

Hey those horns really have bite !!!! 😮

[@colinkang6665]

11:30 2:30

[@su4509]

7:39

[@dannie0998]

34:32 Excerpt 5b

[@trixsbeats]

2:18

[@aidibao505]

21:17

[@tomaslaporta5891]

Increíble como influenció la música de rachmaninoff

[@yassineabderrahmani8665]

41:02 tom and jerry opening

[@airbornesnow4541]

20:07

[@m3owow]

7:40

[@miriamlopez9821]

20:56

[@pablim9732]

04:42

[@yuchiachao2370]

5:32

[@grace.christina]

for myself (this is my audition music lol) 8:12

[@Jacob-iz6rr]

violin excerpt: 34:36

[@supranormal_]

37:32 letter E

[@xlegend8783]

7:48 (159)

[@su4509]

7:49

[@marcovasconcelos918]

эта симфония невероятно оригинальна.

[@kendle977]

26:48

[@xlegend8783]

40:49 H

[@pablim9732]

08:11

[@xlegend8783]

3:21 (66)

[@xlegend8783]

11:38 (259)

[@bobbythepianist828]

The opening sounds like rach 1st piano concerto

[@Dylonely42]

*Rachmaninoff’s first concerto sounds like the opening of this symphony :)

[@aiden_number3]

8:11 chunk J

[@WilliamBottka]

14:15 timpani excerpt 313

[@WilliamBottka]

15:23 2 measures before T

[@myhighmusicworld8036]

Please, not "(со счётом)" - it's wrong. Only "(с партитурой)" - it's true.

[@WeatheredWrld]

Derek this star nonsense, now which is it? I’m sure of it. 34:01 Intro to Wish you were here

[@rwall514]

40:05 "Permission?"

[@helenasofiagutierrez9552]

17:13 molto più mosso 34:34 finale A

[@shawndounvan1398]

anyone in allstate?

[@Violaboi888]

Yes

[@mial1554]

11:24

[@mial1554]

1:28

[@ShockzG5]

35:53

[@ShockzG5]

18:45

[@ShockzG5]

30:50

[@user-hd2tc9ze5i]

La fanfarria del principio es trasladada de las trompas a las trompetas, con lo cual se recrea un tema de juicio. Seguidamente hay otro tema melódico, que consta de 4 notas y de 7, con algún cromatismo lo cual le otorga un carácter patético; éste se desarrolla para desembocar en un final fa mayor. Más lento aparece otro tema nuevo, también con cromatismos pero más pausado. Los timbales rubrican la melodía con golpes de si b - fa. Grupos de 5 notas cromáticas en diálogo crean un ambiente de calma. Pero esta nueva melodía está salpicada con la anterior. Reaparece la fanfarria del juicio, contestada por diseños de la melodía pricipal. La anfarria va modulando en distintos diseños orquestales hasta que culmina en tutti. Se vuelve al segundo tema repitiéndolo de forma literal. Conversan las cuerdas con las maderas. Se repite la fanfarria pero al revés:trompetas trompas. La coda eleva un tema nuevo. Después el primero finaliza brillantemente el movimiento. Al tema del oboe le sigue la cuerda grave. Luego hay una idea melódica ascendente. Se repite la melodía, pero esta vez con un contrapunto de la flauta. Otro tema aparece en un esperanzador fa mayor. Tras un clímax la música se desvanece, con figuraciones rápidas cromáticas. Los violoncellos en solo elabora nuevas figuractenes. Al final es el fagot quien canta la melodía. En el tercer movimiento hay un pizzicato obstinato. El segundo tema en la mayor corre a cargo de la maderea. Las tropas enuncian una figutación más dinámica. Con la repetición del pizzicato termina el movimiento. En el cuarto movimiento 4 notas están seguidas por una figuación de semicorcheas. El tema cambia a menor en el oboe hasta que se llega a un tutti. Le sigue un pasaje fugado. Se reexpone el primer tema. El segundo tema está en los violines con contrapunto de la madera hasta que llega de improviso la fanfarria del primer movimiento; En un positivo fa mayor, la música se encamina a una drandiosa coda. 😊 😊 ❤

[@TheSmart-CasualGamer]

SOS: Galw Gari Tryfan!

[@marksmith3947]

Cymraeg?

[@TheSmart-CasualGamer]

@@marksmith3947 Ydw!

[@danielguardman3530]

с партитурой*

[@JJC333]

Can you add "Coco" by Lucky Chops and "Hey Jude" by Warren Hill between Scherzo and Finale?

[@miguelsuarez8010]

Say whaaat?

[@darrylhendra5446]

Wait, what??

[@kambiztaghavi]

Too much speed killed the beauty of the string passages 4th movement. No . But thanks for the score .

[@Kevin-sg9gk]

1:28

[@yvettekraft2371]

7:39

[@geronimo.stilton]

33:55

[@chuanyingyu8156]

21:20

[@carcar087]

6:00

[@su4509]

7:40

[@pablim9732]

05:21

[@carcar087]

5:06

[@user-iu2tv5ww9n]

33:53