0:00:00.600,0:00:03.160
- The second movement is[br]an andantino in the style

0:00:03.160,0:00:03.993
of a canzona.

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A canzona is an instrumental[br]form of the Renaissance.

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In the Renaissance, there[br]were two basic musical forms:

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the Matraville, or sung form,[br]and a canzona, an instrumental

0:00:12.700,0:00:15.030
form, so he calls it a canzona.

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Canzonas were never slow[br]movements; they were always moving,

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never terribly fast, but at[br]a nice pace, and that's what

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this is: not slow movement at all.

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The first movement has a waltz[br]element, but it is kind of

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a slow movement.

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It is played by the oboe[br]and it's a melancholy tune.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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Interestingly, it just never[br]stops, so once he starts

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with these eighth notes,[br]it just continues.

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The melody is so beautiful[br]and the only accompaniment

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to that are these little pizzicatos.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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After that, the cello section[br]repeats that same melody.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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Flutes come in with the counter melody.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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And then, the second themed[br]group begins and the strings.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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And again, what Tchaikovsky so[br]often does, he takes material

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like that and he'll do[br]it in a different key.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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(light piano)

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I mean, it can keep going, you[br]can go forever, and he builds

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and it builds, then he brings[br]back the original theme played

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by the bassoon and the viola section.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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And this is basically[br]what he does until he gets

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to the third theme group.

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Some people consider[br]it to be like a march.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

0:03:29.950,0:03:32.890
To me, it is more poignant.

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A march would give you the[br]impression that it was somewhat

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superficial, but it's as[br]poignant as ever, gorgeous.

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He repeats it, he varies it,[br]he has a counter-theme to it,

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and eventually he brings[br]back the original theme.

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This time, I choose to bring[br]it back in a very quiet way,

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almost without expression, and[br]highlights the little scales

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(vocal percussion)

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that the woodwinds have: the flute,

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the clarinet, the bassoon.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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Eventually they use the[br]same second theme material,

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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and then a transition, woodwind[br]strings, that brings us back

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to the end, which this time[br]it has the wonderful melody

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being played by the bassoon.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)

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And a little coda with[br]little chords throughout

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the orchestra comes it to an absolutely

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gorgeous, poignant end.

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("Symphony No.4" by[br]Pyotr Ilyich Tchaikovsky)