"Pathétique (Sixth) Symphony" is Tchaikovsky's final work. Like Liszt's "Prelude", it is a portrayal of the composer's life experiences and feelings. Tchaikovsky's life was more bumpy and his spiritual dimension was deeper. We might as well compare Mr. Wang Guowei's words, which seem to have the same purpose: "Those who have achieved great things and great scholars in ancient and modern times must pass through three realms: 'Last night, the west wind withered the green trees. Standing alone on the tall building, you can see the end of the world. ' This is the first scene. "The clothes are getting wider and I don't regret it. I am so tired." This is the second scene. "I have been looking for him for thousands of times, but when I look back, that person is in the dim light." "Three realms."⑷

The first movement generally maintains the sonata form. There is a period of doubt and uneasiness, followed by a long sweet and warm breath. The author affectionately appreciates the Russian land that nurtured him, with " The taste of Piano Concerto No. 1. But in the end, he received a blow in the head and woke up from his dream. The strong and undulating sound collided, and he had to be involved in the whirlpool of life. Reality cannot be escaped, and he must fight against fate tenaciously. The peaceful sub-part theme at the end reappears. After temporarily getting rid of the conflict, we cherish the peaceful and harmonious life more and naturally enter the next movement.

"The unique five-beat waltz"⑸, with its cantabile melody and national poetry... re-experiences life. Although the soul has been tortured and permeated with a touch of sadness, it still expresses its inner desire for a better life. Unswerving ideals cultivate a pure heart. This is "Last night the west wind withered the green trees. I climbed up to the tall building alone and looked at the end of the world."

The third movement "is a strange combination of scherzo and march", but it is "neither tragic nor heroic"⑹, but about struggle - inevitable in fate, without victory or defeat. of struggle. The minor theme of the main part is short and powerful, showing the firm determination to fight hard. It appears repeatedly, and the intensity gradually increases, indicating that it will collide with fate. At the same time, it shows that although there is fear and sad trauma in the heart, it does not flinch or escape, and is supported by an inner and unquenchable power. Move forward with all your strength and be majestic. Behind the incomparably majestic rhythm is a kind of desperate resistance. "The clothes are getting wider and wider, but I will never regret it, and I will feel haggard for the sake of Iraq."

The sorrow and confusion about reality run through the whole piece of music. However, in the fourth movement, all the big storms of life have passed and we are exhausted, but fate is still ruthless and irresistible, making us more melancholy and grief-stricken. After the heartfelt anguish and aroused passion, here we are once again at a loss: "The crowd searched for him thousands of times, and suddenly looked back, but that person was in the dim light." This highlights what Lang pointed out Tchaikov Ski's character: "The hesitation between his mental state and the goals of his efforts is characteristic even in his most mature works." ⑺

However, for the Russians, Indecision in character does not equal loss of faith or even death. The ruthlessness of fate and inner pain can make him temporarily depressed and despairing, but it will not destroy him. The resistance in the first movement is active and powerful, and it is by no means just a matter of parry; in the third movement, it is a desperate fight with all its strength. Although it is becoming more and more powerless, until the fourth movement, the soul is still desperate and has a premonition of death. Beating tenaciously. This traumatized heart may have been able to rest when losing Mrs. Meck, but it continued until the final push of the Sixth Symphony. Even though he felt that his time was short, he never expected that this would be the "last fight." "I have never been so satisfied, proud and happy in my life, because I have indeed completed a masterpiece." ⑻ "I know that this work is very faithful, and I love it; I am absolutely loyal to my past works. Not loved." ⑼ Similar emotional experiences were experienced by his compatriots Mussorgsky and Rachmaninov, but they did not break them. Therefore, Tchaikovsky probably used this opportunity to look back on decades of hard work and "sing to celebrate his aspirations."

But there is no doubt that "pathos" is "a portrayal of the social life of Russian intellectuals in the 19th century". "It arouses people's permanent doubts about that dark and inhumane system, thus inspiring people Strive for freedom, light, and a better life”⑽.

"The Sixth Pathetique Symphony" profoundly expresses his hesitation under the reactionary rule of the Tsar, who is dissatisfied with reality, yearns for justice and joy, but cannot find a way out. He expresses his feelings with extreme maturity and development The exquisite symphonic technique expresses the deep and unspeakable sadness in his heart, and it is his representative work handed down from generation to generation.

This work follows the structure of the four movements of a symphonic suite. The first movement is an allegro movement, but it expresses confusion, pain and hesitation; the second movement is a five-beat waltz, warm and friendly, as if it reminds you of beautiful memories in life; the third movement is a The string music plus march movement uses fast triple beats, while the march goes from weak to strong, and after a very strong ending, there is a slow fourth movement. The strong string melody in this chapter makes people's soul shaken and torn by the greatest pathos. Usually the last movement is usually brilliant, but Tchaikovsky made the fourth movement a tragic slow movement, which is a very original approach.

Music is an invisible and intangible art form, and its characteristic is that it can affect your emotions.

The symphony is not mysterious, because it will arouse your associations and arouse your emotional excitement, and everyone has imagination, joy, anger, sorrow, and joy. For example, the overture to the opera "Carmen" by French composer Georges Bizet (1835-1875), the lively and joyful melody, will immediately excite you and make your heart join the audience in the Spanish bullring. beat.

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At the end of Beethoven's "Eroica Symphony", which expresses the funeral of a hero, the intermittent phrases, as if sobbing, will also make you follow along. Sigh deeply for the death of the hero.

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When you hear the strong melody played by the strings in the final movement of Russian composer Tchaikovsky's "Pathétique Symphony", you Their hearts will also be shaken and torn apart by the greatest sorrow.

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And when you hear the battle horn and the sound from far to near in the overture of Italian composer Rossini’s opera "William Tell" Like the roaring waves of thousands of galloping horses rushing towards you, you can't help but be inspired and uplifted by the fighting passion of the Swiss people against tyranny.

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Please see, this is how symphony music expresses thoughts and feelings, how it spreads the wings of your imagination and arouses your emotional cries. Isn’t it a wonderful enjoyment to enjoy a symphony? The desire for beauty is the common pursuit of mankind, and it is also the lifelong pursuit of many great composers and musicians, a very important one of whom is Tchaikovsky.

Tchaikovsky lived in Russia in the late 19th century. He was born in 1840 and died in 1893. Compared with Beethoven (1770-1827), he lived more than half a century later.

In the second half of the 19th century, Tchaikovsky, together with the five members of the "Powerful Group" of the same period, inherited the cause started by Glinka, the founder of the Russian national music school, and became the new Russian composer. A representative figure of period music. Although his creations have aroused different evaluations in the West, believing that he followed the styles of Germany and France and lacked national character, the Russian people loved and respected him. Stravinsky once said: "He is the most popular among all of us." Totally Russian”. He and the "Powerful Group" have different artistic tastes and pursuits, but they have both made contributions to Russian music in the ways they are good at. As a Russian composer, Tchaikovsky paid great attention to extensively absorbing the creative techniques of Western European music in his works. The themes he focused on were not heroic epics or the merits and demerits of Russian emperors, but ordinary people in reality. Emotional experience; not grand scenes of mass grandeur, or wonderful and imaginative mythological stories, but plots that the composer himself "experienced or saw" that could make Tchaikovsky "moved" and conflict”. This creative thought that emphasizes personal subjective consciousness is reflected in a large number of his works, giving his music creation a unique personality, with its strong emotional ups and downs and sincerity as the most prominent features.

Among Tchaikovsky's symphony creations, the most famous is arguably the "Pathétique (Sixth) Symphony". This is his last work, known as "Swan Song", which means the most beautiful song before the death of the swan. The title "Pathetique" was something Tchaikovsky considered adding after the work was completed.

In his correspondence and conversations with friends, he repeatedly touched on the title of musical works, and was disgusted with those "symphonic works that do not express any content but only play with chords, rhythm and modulations needlessly". In this sense, He has no objection to seeing his work as "titled." But Tchaikovsky emphasized: "This title can never be put into words... Shouldn't a symphony express everything that is indescribable and expressed out of inner requirements?" Therefore, the word "pathos" , is only a general summary of the emotional content expressed by the symphony, and this title cannot simply illustrate the entire symphony. In 1892, the year before he started writing the Sixth Symphony, Tchaikovsky had conceived another title symphony, titled "Life", and also drafted an outline for it: "First The movements are all about passion, confidence, and desire to make a difference (the final movement is about death as a consequence of destruction), the second movement is about love, the third movement is about disappointment, and the fourth movement ends with the extinguishing of life. , also short. "That is to say, Tchaikovsky once wanted to write a philosophical symphony about life-youth, love, old age, and death. The symphony was never written. However, the composer's intention of using music to express the composer's experience and thinking about life was not given up, but permeated into the creative conception of the Sixth Symphony in 1893. Tchaikovsky considered "Pathétique" "the best and most sincere of all my works", "It is no exaggeration to say that I have put my entire soul into this symphony... …”.

The composer wanted to use music to summarize the profound and broad content of "life and death". A symphony, a large-scale structure that is good at expressing conflicts and changes and unity, is the most suitable. "Symphony No. 6" "" adopts the four-movement structure of a traditional symphony, but according to the content needs that Tchaikovsky wants to express, this symphony breaks through the standard model in many aspects.

The first movement is allegro in sonata form. In Tchaikovsky's symphony creations, especially the Fourth, Fifth, and Sixth Symphonies, which most embody his mature creative style, the first movement is an important core movement. It has grown in length, the psychological conflicts and fierce evolutions reflected in the music are extremely strong, and the drama of life unfolds in a very broad scope. Each part of the sonata form adds weight of content and form. If we compare the first movement of the "Pathétique Symphony" with Haydn's, we can clearly appreciate the huge differences between the eighteenth and nineteenth centuries, classical and romantic, German-Austrian and Russian, and thus realize that, The changes of the times have brought great changes to the traditional forms of music.

The first movement has an introduction, which is a low, slow and gloomy melody. It is played by the bassoon in the bass area, like a heavy sigh:

It does not Like Tchaikovsky's Fourth Symphony, the introduction plays the role of the leading motive in the movement, but it is also the core "seed" of the main theme and the tone of the entire movement. It starts from the main key of the movement - b The subordinate key of the minor key (e minor) begins. In this way, the introduction not only prepares the theme emotionally and tonally, but also increases the power of the tonal movement leading to the main part. The role of primers has been greatly expanded.

The presentation part has shown the unfolding nature of the sonata form. Not only is the contrast between the main part and the secondary part themes very sharp, but the main theme contains a variety of non-single factors, which itself has constituted a dramatic and intense development. , the overall musical nature of the main part is anxious and restless, and the passionate motives are rapidly advancing, pushing the music to a climax

The Andante (Andante) of the deputy part and the not-too-fast Allegro (Allegronon troppo) of the main part ) contrast, the key is in D major.

The melody of the second part is warm, stretched and poetic like Tchaikovsky. The music is long and broad. The theme uses the timbre of the violin and viola with muted instruments, against the background of the soft chords of woodwinds and French horns. Ji Wan expressed it with a hint of sadness:

In Tchaikovsky, the structures of the deputy part and the main part have been expanded. The main part and the deputy part are relatively independent three-part structures, each of which Although there are contrasts in the material between the middle part and the second part, the musical nature is close. Let’s look at the part of the second part. With the rising and falling melody, emotions of longing and longing are filled with it. It is similar to the third part of the second part. One part and its reproduction are complementary to each other, they are just more impulsive

The music materials and emotions of the ending part are the continuation of the deputy part. It seems that the protagonist has been immersed in a dream, which is a tenderness for the past. Memories, or a beautiful yearning for the future? Whatever it is, the opening music enters and violently washes everything away.

The development is the first movement and the climax of the entire symphony. It mainly develops the material of the main part. Several factors of the main part are fully developed separately, and the lyrical material of the secondary part basically does not appear. Therefore, the material in the expansion part is very concentrated. It includes several powerful impacts, pushing the sharp and tense conflicts and the rushing waves of emotions to the highest point. Tchaikovsky's orchestral thinking is highly individual, with ups and downs of melody lines and interweaving orchestra textures. The unfolding of the first movement of the "Pathétique Symphony" embodies this creative characteristic of the composer. There is also a new musical material in the thrilling tragedy in the expansion part. It is solemn and solemn, and uses the tune of church music "rest in peace with the saints". Its addition and contrast add to the "pathos" atmosphere.

Tchaikovsky also innovatively handled the recapitulation. Because the main theme continues to unfold in the development, the entry of the main part of the recapitulation is not obvious, as if the development is continuing. , because the passion it tells has not diminished at all. But tonally the music returns to the main key, which means it is indeed a "recapitulation". Therefore, the reappearance of the secondary part is particularly prominent. It is reproduced in the main key of the same name (B major), making it more affectionate and beautiful. The music never reached a climax, and the short coda gradually subsided the passion, ending the dramatic first movement.

The second movement is "Beautiful Allegro". Compared with the first movement, it seems simple and relaxed. The beat is an asymmetrical five-beat, but the phrase still has a regular eight-bar structure. This dance scene and musical image are common in Tchaikovsky's musical works (art songs, symphonies, etc.). The dance theme is played with the soft tone of the cello. Compared with the theme in the middle part of the complex trilogy, it is elegant, but more objective and indifferent

After this dance music, the sound of strings They all play a five-beat dance music of the same nature.

The second part in the middle, which is in sharp contrast to the ball and dance music, is closely connected with the music of the first movement and is the descending, second-order cry and groan tone

After all the dance music in the first part is reproduced, the movement has a small coda, in which the plaintive motive and the dance sound pattern appear conclusively, bringing the movement to a perfect end.

The third movement is equivalent to the scherzo movement of Beethoven's symphony. It is a "fast allegro" with a tempo of 12/8 and has the nature of a march. Musicologists have given different explanations for this movement: First, it is full of "weird creatures", "devil"-like "vicious attacks", "sometimes cunningly teasing, sometimes proudly self-conscious". Manifestation", in short, "the flight of evil forces... For a person who falls into the magic circle intentionally or unintentionally, all ways out are cut off." Another analysis said that this movement is a "march of heroism", which resembles the image of the visionary Ikar who boldly flies to the sun in the mythical story. Some people, out of views on Tchaikovsky's political attitude, believe that the chaotic, noisy, and weird sound of the third movement is a distortion and vilification of the revolutionary mass movement of that era. In short, the power of music is so great that it can make people immerse themselves in it and add their own emotions and understanding. This understanding, due to the different cultivation and perspective of each listener, will lead to completely different conclusions. . We don’t need to judge what is right and wrong here, but we should strive to grasp the characteristics and specific methods of music, and then form our own opinions on music as our cultivation in various aspects (history, culture, art, philosophy, religion, etc.) improves. Kovsky's musical understanding of personality.

Of course, as long as the concepts and methods are right, the understanding of the meaning and connotation of music itself will be close to the "truth" and will not be too "outrageous".

The music of the third movement is indeed extraordinary. It is not the same thing as the classical minuet, nor does it have the boldness and vigor of Beethoven's scherzo. This movement is in sonata form without an expansion. A triplet sound pattern flies away like a whirlwind, and it continues until the sub-theme enters, making the main theme appear urgent, noisy, weird and unpredictable

Although the third movement does not have a development part , but the main and secondary themes conflict with and complement each other in the presentation process of the music, making the chaotic and rough nature of the entire movement more prominent.

The most original aspect of the "Pathétique Symphony" is that it uses the "slowest adagio" as the closing movement of the symphonic suite. The final movements of Tchaikovsky's previous symphonies were all positive, clear and magnificent Allegro movements; the Sixth Symphony broke the convention and used an Adagio. This was entirely a formal change due to the needs of the overall conception. , it is a natural and reasonable result from the internal logic of Lesi.

The fourth movement is a trilogy, which is simpler than the first movement. The overall mood is unusual sadness and indignation, which can be said to make people burst into tears. As soon as the first theme enters, it shows a huge tragedy. Power, the violin parts are interlaced

After this, the intensity of the tone continues to increase; in the middle part, the speed is slightly tighter, and each part adopts Tchaikovsky's typical musical language, with continuously descending melody lines Combined with the ascending molded sound pattern, it forms a strong and dense sound flow. This tense tendency brings about a highly expressive effect

Before the reappearance of the first theme, the music is suddenly interrupted (using rests), bringing the emotion to a dramatic climax. The theme reappears with some expansion. The movement ends with the central theme material, which is presented in the main key of the symphony (B minor) and gradually decreases until the whole music disappears completely in the lower range of the cello and double bass.

The "Pathétique Symphony" expresses the profound tragedy of life, as if the composer was despairing due to grief, pain and fatigue, and could no longer muster the courage to live. But if Tchaikovsky had not died suddenly (nine days after the premiere of the "Pathétique Symphony"), he might have risen again and continued to create music and his "regret the past, hope for the future, never be satisfied with the present" Life.