ABSTRACT
A self-sufficient tone poem as Allegro non troppo can be perceived should allow for any unfolding of the plot from the first movement on, hence, the existence of music beyond its borders puts any continuation into question. The continuation offered by Tchaikovsky enhances the elements of retrospective narrative contained in the first movement. Waltz was as spread in Tchaikovsky's legacy as minuet in Mozart's. It is quite expected, therefore, that a waltz-like intermezzo, contrasting the regular metres of the action movements', had been a necessary part of this symphony. Irrespective of the Sixth, Tchaikovsky had good reason to think of a Caucasian soundscape. Tchaikovsky's relationship with Orientalism, one can recall that there was no lack of exotic plots among the numerous operatic projects in the course of his career. One of these, for example, suggested by the outstanding Russian playwright Alexander Ostrovsky in 1868, was considered by Tchaikovsky with great enthusiasm.
