often in their last movements. Even in the presence
of these Viennese references, the most captivating
material in this work resides in the
inner movements, where Tchaikovsky's Russian side
comes to the fore. In the second movement, one hears the free alternation
of two and three beats per measure
in the outer sections, which lends the music
a Russian folk feel. And in the slow
third movement, one hears the kind of Russian
melancholy and pathos that is
associated with Tchaikovsky's
most dramatic orchestral works. What could be
more compelling? Arnold
will now give his thoughts.
When I was a teenager, I fell completely in love with Tchaikovsky's music.
As a budding violinist, I first came to know and love his violin concerto,
followed by his piano concerto, his symphonies,
the Romeo and Juliet Overture and on and on.
At one point I felt I had to
confess my love of Tchaikovsky to an older musician of my acquaintance.
I'll never forget his response. "You'll get
over it." That was easily sixty years ago
and I'd like to inform the gentleman if he’s still around
that, I haven't gotten over it yet. If anything,
I revere Tchaikovsky's music more than ever.
Listening to work of his is like going to the theatre.
And not just any theatre! Tchaikovsky's works
are often full of the nail-biting drama and
of heart-stopping emotion. And this is certainly true
of Tchaikovsky's Second String Ouartet, Opus 22