It begins in a dark, melancholy mood and ends triumphantly: Pyotr Ilyich Tchaikovsky’s Symphony No. 5 in E minor, Op. 64. This quintessentially Romantic symphony is performed by the Gewandhaus Orchestra under the baton of Andris Nelsons. The concert took place on 17 May 2019 at the Gewandhaus in Leipzig.
(00:00) I. Andante – Allegro con anima
(15:51) II. Andante cantabile, con alcuna licenza
(30:34) III. Waltz. Allegro moderato
(36:38) IV. Finale. Andante maestoso – Allegro vivace
Although Tchaikovsky (1840–1893) explicitly stated that his Symphony No. 5 in E minor should not be understood as program music, it has long been associated with the idea of “Fate.” A Fifth Symphony and the theme of fate inevitably bring to mind Ludwig van Beethoven’s (1770–1827) Symphony No. 5 in C minor, Op. 67 (1808), universally known as the “Fate Symphony.” Indeed, there is a clear parallel between the two Fifth Symphonies: both open in darkness, gradually move from minor to major, and end in a spirit of triumph. Such a fate drama — a journey from defeat to victory, from suffering to redemption — was a quintessentially Romantic theme in the 19th century.
Whether Tchaikovsky’s Fifth Symphony really does revolve around the concept of fate remains a matter of debate. In notes written before he began composing, Tchaikovsky mentions a sense of complete submission to fate, but it is by no means certain that this refers to the symphony itself. He composed the work in just a few weeks during the summer of 1888 at his country house. The premiere took place on November 17 of the same year in St. Petersburg and was conducted by the composer himself.
In formal terms, Tchaikovsky’s Fifth is a cyclical symphony: a theme introduced at the outset recurs in varied forms throughout all four movements, creating a sense of unity across the entire work. Because this motto theme is initially presented in such a mournful and somber manner, it has often been interpreted as representing a tragic fate — hence the term “Fate motif,” still commonly used today.
Already in the second movement, however, the supposed tragic character transforms into something more idyllic: the horn introduces a memorable theme (16:48) that Tchaikovsky himself described as a “ray of light.” In fact, the Russian composer borrowed this theme from the third movement of the Symphony No. 10 in F minor (“Zur Herbstzeit”, 1879) by the Swiss-German composer Joseph Joachim Raff (1822–1882). Set against Raff’s graceful melody, Tchaikovsky’s motto theme appears as a secondary idea in the middle section of the movement.
In the third movement — a waltz — the main theme of the symphony reappears only briefly and almost incidentally. By contrast, the finale begins once again with the motto theme, which is then swiftly transformed from minor to major. The music develops with increasing positivity and culminates in a triumphant march.
Tchaikovsky initially regarded his Fifth Symphony as a failure, particularly disliking the finale. However, a year after the premiere he revised his opinion and was positive about the work. Today, the Symphony No. 5 is among the most beloved compositions of the Russian master and is performed regularly in concert halls around the world.
© 2019 Accentus Music
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