Apparently during the Soviet era, conductors made this symphony less gloomy by switching the order of the last two movements. C 2 nd mov Waltz! D 3 rd mov. Deutsche Grammophon's sound is cavernous but unbelievably vivid.
I have conducted the Sixth with a pick-up orchestra, heard it several times in concert and a hundred times on record, and studied the score with devotion. Trumpet in C 1 transposed part. Transposed Part for Trumpet in C 1. Originally for 1st Trumpet in A. Trumpet in Bb 2 transposed part. Transposed Part for Trumpet in Bb 2. Trumpet in Bb 1 transposed part.
Transposed Part for Trumpet in Bb 1. Clarinet in Bb 2 transposed part. Petersburg, arriving "in excellent spirits. Tchaikovsky's brother Modest wrote, "There was applause and the composer was recalled, but with more enthusiasm than on previous occasions. Although not called for in the score, a bass clarinet is commonly employed to replace the solo bassoon for the four notes immediately preceding the Allegro vivo section of the first movement,    which originates from Austrian conductor Hans Richter.
The first movement, in sonata form , frequently alternates speed, mood, and key, with the main key being B minor.
It opens quietly with a low bassoon melody in E minor. Violas appear with the first theme of the Allegro in B minor, a faster variant of the slow opening melody. This eventually leads to the lyrical secondary theme in D major. The energetic development section begins abruptly, with an outburst from the orchestra. It runs seamlessly into the fortissimo recapitulation, whose atmosphere is completely different from its rather hesitant equivalent at the beginning of the exposition, though Tchaikovsky soon goes into something more nightmarish which culminates in a refrain supported by brass and timpani.
The movement concludes shortly after the recapitulation of the second subject shown above, this time in the tonic major B major with a coda which is also in B major, finally ending very quietly.
The second movement, a dance movement in ternary form , is in 5 4 time. It has been described as a "limping" waltz. A graceful coda leads to a quiet ending.
The third movement is in a compound meter 12 8 and 4 4 and in sonatina form. It begins with strings in a fast, exciting motif playing semiquavers against a woodwind 4 4 meter.
It leads to the E major secondary theme in the exposition beginning with clarinet solo with string accompaniment. Between the exposition and the recapitulation, there is no development section - only 2 bars of retransition.
The opening theme reappears, now the first theme in the recapitulation, which later leads to the secondary theme but this time in G major and march-like. The movement ends with a coda triumphantly, almost as a deceptive finale. It is probably no coincidence that the movement, with its stormy character through restless strings, wind-like whistling woodwinds and thundering brass instruments, is reminiscent of the finale from Joachim Raff's Symphony No.
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