Pyotr Ilyich Tchaikovsky was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Symphony No. 4 took place in Moscow on February 22, 1878, with Nikolai Rubinstein conducting. The Symphony No. 4 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, bass drum, cymbals, and strings. Approximate performance time is forty-four minutes.

On July 18, 1877, Tchaikovsky wed Antonina Milyukova. Tchaikovsky realized from the outset that the marriage was a mistake. He lapsed into a profound depression and later attempted suicide. Finally, on October 6—less than three months after the wedding—Tchaikovsky left his wife forever, rushing to St. Petersburg to meet his brother, Anatoly. Tchaikovsky suffered a nervous breakdown, and doctors stated that a resumption of the marital relationship was out of the question. Tchaikovsky, under doctor’s orders, journeyed to Switzerland for recuperation.

Tchaikovsky completed his Fourth Symphony on January 7, 1878. The premiere took place in Moscow on February 22, 1878, under Nikolai Rubinstein’s direction. Tchaikovsky dedicated the Symphony to his patroness, Nadezhda von Meck, whom the composer described as “my best friend.” And, in a letter to von Meck, Tchaikovsky divulged the meaning of his Fourth Symphony (all of Tchaikovsky’s comments are indented, below):

I. Andante sostenuto—Moderato con anima—Moderato assai, quasi Andante—Allegro vivo—

The introduction is the germ of the whole symphony, unarguably the main idea. This is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal, that jealously ensures our well-being and peace are not unclouded, that hangs over our heads like the sword of Damocles, that with steadfast persistence poisons our souls. It is invincible, you will never master it. One can only resign oneself to fruitless sorrow.

Tchaikovsky depicts the inexorable power of Fate with stunning fanfares by the brass and winds. It is one of the most arresting and dramatic openings in all of symphonic literature.

The joyless, hopeless feeling becomes more powerful and fierce. Would it not be better to turn away from reality and submerge oneself in dreams?

Oh joy! There is at least a sweet and tender dream appearing! A bright and gracious human form flits by and lures us on somewhere.

How lovely! And how remote the obsessive first allegro theme now sounds! The dreams have gradually taken full possession of the soul. All that was gloomy and joyless is forgotten. Here it is, here is happiness! No! They were dreams and Fate rouses us from them.

So life is a constant alternation between grim reality and evanescent visions and dreams of happiness...There is no haven. Sail upon that ocean until it seizes you and engulfs you in its depths. That is roughly the program of the first movement.

II. Andantino in modo di canzona—

The second movement of the symphony expresses another phase of depression: that melancholy feeling that comes on in the evening, when you are sitting on your own, tired with work, and you take up a book but it falls out of your hands. Memories come flooding in. It is sad that so much has been and gone; it is pleasant to recollect one’s youth. One regrets the passing of time yet there is no wish to begin life anew. Life wears one out. It is pleasant to rest and reflect. There are so many memories! There have been happy moments when young blood coursed through the veins and life was good. There have also been difficult times, irreplaceable losses. But now that is all somewhere in the past. There is a sweet sadness in burying oneself in the past.

III. Scherzo. Pizzicato ostinato—Allegro—

The third movement does not express any precise feelings. These are whimsical arabesques, the elusive images that flash across one’s imagination when one has had a little wine to drink and is in the first stage of intoxication. One’s spirits are not happy, but neither are they sad. One does not think about anything: one gives free reign to one’s imagination that, for some reason, sets about painting strange pictures. Amongst them one recalls a picture of some roistering peasants and a street song. Then somewhere in the distance a military parade goes by. There is no connection between these images that are like those which flash through your mind as you are going to sleep. They have nothing to do with reality: they are strange, wild, and incoherent.

IV. Finale. Allegro con fuoco—

The fourth movement. If you find no cause for joy in yourself, look to others. Go amongst the common people and see now they know how to enjoy themselves, abandoning themselves completely to feelings of joy. Picture of a peasant celebration on a holiday. But scarcely have you managed to forget yourself and be distracted by the sight of other people’s pleasures than inexorable Fate appears once more and reminds you of its existence.

Tchaikovsky portrays the “peasant celebration” by quoting a popular Russian folk song, “The Little Birch Tree,” sung by the winds after the Finale’s brief, raucous introduction. Later, the celebration is interrupted by the return of the “Fate” motif that launched the Symphony’s first movement.

Tchaikovsky continues:

But you are no concern of anyone else. They do not even turn round, they do not glance at you, and they have not noticed that you are lonely and sad. Oh! What fun it is for them! They are so lucky that all their feelings are simple and direct. Blame yourself and do not say that all the world is sad. There are simple but potent pleasures. Enjoy other people’s happiness. One can live despite everything.

program notes by Ken Meltzer