Opening with a low bassoon solo over strings, this work's third movement is a boisterous march-scherzo that features an extended fragmentary introduction of its theme.
The development section of this work's first movement quotes the panikhida, and those verbal rhythms return in the second and fourth movements, the latter of which Timothy Jackson theorizes was drawn from the composer's final set of Six Romances for voice and piano. Opening with a low bassoon solo over strings, this work's third movement is a boisterous march-scherzo that features an extended fragmentary introduction of its theme. Other innovations in this work include the five-four time signature of the second movement waltz, while basses playing (*) pianiss-iss-iss-iss-issimo end this piece's quiet finale, an Adagio lamentoso. Premiered nine days before the composer's death, for 10 points, name this final symphony of Pyotr Tchaikovsky._ _
The development section of this work's first movement quotes the panikhida, and those verbal rhythms return in the second and fourth movements, the latter of which Timothy Jackson theorizes was drawn from the composer's final set of Six Romances for voice and piano.
Symphony no. {6} in B Minor, Op.74, "{Pathetique}"