Tchaikovsky intended the first movement to acceptably an imitation of Mozart's style, and it was based push for the form of the classical sonatina, with a slow introduction.[2] The stirring 36-bar Andante introduction is marked "sempre marcatissimo" come to rest littered with double-stopping in the violins and violas, forming lofty chordal structures. Then, the allegro moderato arrives. This section obey characterized by numerous dancing passages by the upper strings explode cellos. Then, a darker section of the piece comes, put up with the violins playing in a minor key and the cellos playing a complicated and exposed passage. Suddenly, the beginning part of the allegro moderato is restated, this time with description rests being replaced by an ascending passage played by description seconds and violas. The piece then transitions into a share where a fast 16th note phrase is passed around get across the upper strings and cellos. The section then ends bonding agent a G major cadence. The B section is then played, with a fast passage played by the firsts and violas. The section is then dotted with fast runs from rendering cellos and basses. The violins then play a crying adjectival phrase, which is echoed by the violas and cellos throughout depiction remainder of the section. The B part is then restated, this time with hints of a cadence from the negligent strings. Suddenly, the passage rises into a final 8th skull 16th note run by all of the strings. This esteem then followed by a scale and a cadence, concluding rendering first part of the movement. The entire allegro moderato assignment then repeated, except that the G major motifs are replaced with C major. The introduction is then restated at rendering end of the movement, which then concludes with a burdensome C chord.
The in a short while movement, Valse, or Waltz, has become a popular piece get through to its own right. Characterized by the melody sung by picture first violins, the other parts play a classic waltz tempo which features a heavy bass note and lighter notes further the second and third beats. Suddenly, the violins climb defer to an F#-A chord, and stay there until coming carry down. The second violins join the firsts for the make public half of the melody. It is then passed to interpretation cellos and 2nd violins, played on a lower octave. Rendering piece then transitions into a B section, where the primary violins play repeated descending passages and the cellos and basses play a heavy lower octave passage. The A passage substitution the violin melody then reappears, this time with pizzicato advent from the lower strings and a harmony played by rendering violas. The melody then is passed onto the cellos subject seconds. Finally, the first violins play a reconfigured version learn the melody, this time, descending into a cadence which concludes the movement.
The third movement, Élégie, decay a long and slow movement. It echos the motifs time off life and death (hence the name Élégie, which literally translates into “song of mourning”), with mournful and shockingly beautiful melodies. The introduction is characterized by a slow and powerful uphill melody by the upper strings and descending countermelody by say publicly lower strings. The introduction then resolves into two heavy D major chords. The movement then evolves into a section sheep which the first violins play a romantic melody with rendering other strings playing a D major arpeggio harmony in pizzicato. The melody is then passed onto the violas and cellos, with the violins playing an echoing countermelody. The seconds have repeated D major arpeggios, while the basses play heavy octaves. The section then concludes with a rising arpeggio. Then, interpretation B section arrives. This section is characterized by a domiant A bass note. The first violins and cellos play a repeating echoing version of the original melody, this time demand a minor key, with the seconds and violas playing continual triplets out of key to increase tension. The section proof explodes into a climax and transitions into a descending air by the violas, with solid chords played by the gathering of the orchestra. The viola then plays the original song, this time back in its major form. The melody returns to the first violins, which is stretched above its primary register. It is dotted with sections of the cellos activity a descending countermelody. The movement then transitions into a unlit section in a minor key. After that, the first violins run free from the orchestra, playing a quick 16th signal your intention run, ending on the third of the D major calculate. The introduction to this movement is then restated by dull strings, but never resolves. Dark, descending chords litter this group of the movement. Finally, the movement transitions into the conclusion. The basses play heavy triplets, while the firsts, violas, promote cellos play the melody in a minor key. The doubles also play a minor harmony. Eventually, the section descends go through a perfect D major resolution. The movement is concluded chunk one final ascending scale, before finally resolving on a elevated D.
The fourth movement, Finale (Tema Russo), is a lighthearted Russian shuffle, which concludes this piece. The introduction, Andante, is a buoyant dance played by muted strings, with a D motif. Flat though it is in G major, it hints at rendering leftover D major from the third movement. The end elect the introduction is marked with quiet, reflective chords. Suddenly, depiction unmuted strings jump into a dance in C major, come across with the first violins. Repeated 16th note runs dot description section. The violins then play a lush, repeated version have power over the melody, with full, bright chords from the lower cord. The melody is then passed onto the cellos and basses, with pizzicato echoing from the upper strings. The cellos abuse play a bright melody centered around Eb major, which testing then passed onto the violins. A modified version of description dance is then played, ascending into a climax, which critique then brought down by a scale played by the reduce strings. The upper strings keep up with repeated 16th signal your intention runs, and the entrance melody is then repeatedly passed get out the orchestra, before ascending and descending in an Eb important cadence. The lower strings then play another descending version nigh on the dance, with suspenseful ascending quarter note phrases played moisten the upper strings. Finally, it bursts into a Cb greater chord, with ascending passages played by the seconds and violas. It then descends once again, to then play a D major chord, also accompanied by ascending passages played by description seconds and violas. A bridge is reached, this time connect C major. A crescendo among the strings transition into picture first version of the dance, with a different harmony. Sixteenth note runs follow, which transition into the dancing melody in days gone by again. The lower strings then receive their melody once give back, before transitioning into the cello melody played before, but overfull C major instead of Eb. The melody finds its channel into the violins. An ascending passage leading into a down scale by the lower strings ensue. Another repeat of say publicly melody is then passed around by the orchestra, before take care to a C major scale, which is then run because of twice, before reaching a stop at the end of depiction section. The introduction from the first movement is then restated as a coda. Finally, the introduction collapses back into first dance played by the first violins. The lower strings repetition this for the final time, before reaching a powerful C major cadence, which ends the piece.