Having a Ball with Tchaikovsky's Symphony No 6
III. Allegro molto vivace
Symphony No. 6 in B minor, Op. 74 ("Pathétique")
I'm Tchaikovsky, and I'm about to explain the III. Allegro molto vivace of my Symphony No 6. You'll hear a scherzo-like march in G major that starts out light and quick, then gathers so much brightness and force that it feels like a triumph before the sad finale arrives. Because my fellow composers and I teach you on this site to recognize our pieces when you hear them, why not test yourself in the Trainer right now?
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Fasten Your Ears, This One Moves
When you press play, listen first for the strings, because they start the movement with a light, scurrying figure that never seems to sit still. The flutes, oboes and clarinets add bright little touches on top, while the bassoons and low strings keep the ground moving underneath. Wait for the horns, trumpets and trombones to bring in the march tune, because that's where the movement stops tiptoeing and starts to stride. At the peak the cymbals, bass drum and timpani join in, and the whole orchestra sounds like a parade that has finally reached the main square.A Title That Is Basically a Speed Limit
The title of this movement isn't a poetic name at all, it's the marking Allegro molto vivace, which tells the players to go quickly and very lively. Some program notes list it as Presto instead, but Allegro molto vivace is what most editions give, so that's the name I'll stick with. I chose such a bright instruction because this is the part of the symphony where the mood sounds most confident, with a march in G major that seems sure of itself. It also sits right before the slow finale, which I had planned in my letter to Davydov in place of a loud allegro, so think of this as the last big burst of energy before the lights go down.The Shape-Shifting Form
Choosing the form for this movement was an adventure, because I wanted a scherzo-like march in 4/4, and those two ideas don't naturally share a room. So I didn't follow a strict plan, and instead I let the main ideas come back and grow as the movement goes on. I hear four sections: the scurrying start, the arrival of the march, the big collision of the two, and the blazing finish. I'll take them one at a time in the next paragraphs, so you can follow the story as it unfolds.Section 1: Tiptoeing on a Warm Stove
The movement begins quietly in G major, with the strings darting about in quick, light patterns that feel restless and a little playful. The tempo is fast from the very first bar, but the volume is low, so it sounds like something busy happening just out of sight. Small fragments of tune pop up in the woodwinds and then vanish again, as if the music can't decide where to settle. Hold on to this nervous, flickering energy, because it keeps returning later in the movement.Section 2: The March Walks In
Gradually a steadier tune appears, and you can feel the music lining up into a march in 4/4 with firm, regular steps. The brass begin to join in, and the mood shifts from teasing and whispery to bold and cheerful. The scurrying hasn't gone away, but now it runs alongside the march instead of leading it. This is the moment when the movement finds its confidence, and you may notice yourself tapping along without deciding to.Section 3: Everybody Talks at Once
Now the two ideas, the restless patterns and the marching tune, start to overlap, and the music pulls in different directions at the same time. The key shifts around as they push against each other, which gives the section a lively, slightly unsettled feeling. The orchestra grows louder with each round, passing the march from group to group like a message that everyone wants to deliver. Listen for the way the tension builds without the tempo ever slowing down, because it's the engine of the whole movement.Section 4: The Victory Lap
In the last section the march returns in full strength, with the entire orchestra playing and the cymbals and bass drum adding their weight. The mood is triumphant, and the music drives forward faster and faster until it feels almost impossible to hold back. It ends in a blaze of sound, so decisive that you might feel like applauding right there. But the slow finale is still waiting, and it will answer all this brightness in a very different way.Your Turn: Press Play
Now it's your turn to hear this movement for yourself, so go ahead and press play and let the music carry you along. While it plays, keep in mind what we talked about: the scurrying strings, the arrival of the march, the tug of war between them, and the big finish. You don't need to know anything about music to feel the energy, because it's meant to be felt as much as understood. I hope you enjoy the ride as much as I enjoyed writing it!---
We've come to the end of the third movement, and I hope the walk through it left you with a clear picture of its G major energy. Did you enjoy listening along with me through the Allegro molto vivace? I like to think of it as the moment when the symphony stands up, straightens its coat and strides forward with real confidence. It's a march in 4/4, but one with a lively, scherzo-like spirit. What follows may surprise you, because I didn't end the symphony with a loud allegro. Instead I wrote a long, slow finale, just as I had told my nephew Vladimir Davydov I might. There is still a lot more to explore in my Symphony No 6. The other movements each have their own character, and the story behind the program I never revealed is still a puzzle for listeners today. If you'd like to keep going, please click on the links below to explore more of the symphony. I'd be glad to have you with me for the rest of the journey.