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Concert Review: Pyotr Ilyich Tchaikovsky – Symphony No. 6


Reviewing Symphony No. 6 by Pyotr Ilyich Tchaikovsky, popularly known as the “Pathétique,” performed by the Seoul Philharmonic Orchestra via a pre-recorded performance, was an easy choice. The depth and intensity of feeling in this symphony have earned it a place with Tchaikovsky’s other great works. As a music journalist, I intend to comprehensively analyze three movements from this symphony, focusing on the technical aspects and my subjective emotional and aesthetic responses to each.

Concert Environment

The concert video opens with a wide shot of the concert auditorium in the Seoul Arts Center. With a sizable stage covered in scarlet curtains, the setting exudes grandeur and elegance. The attendees’ formal attire adds to the performance’s feeling of occasion and significance. The lighting is dimmed just enough to create a cozy ambiance that lets the music take center stage (Alikperova, 2022). As the orchestra takes the stage, the conductor, Myung-Whun Chung, seizes the audience’s and the orchestra’s attention by taking the podium.

First Movement: Adagio – Allegro non troppo

Beginning with a hauntingly lovely Adagio passage, Tchaikovsky’s Symphony No. 6’s first movement. The strings begin the melancholy melodies, evoking a sense of longing and reflection. Because the dynamics are so expertly managed, the music can ebb and flow subtly. The woodwind part gives the overall texture a hint of sweetness and warmth. The tempo picks up as the Allegro non-troppo passage progresses, and the orchestra unleashes its full force (Pyotr et al., 2013). The brass section assumes the lead role and sings brash and triumphal tunes. The stark contrast between the gentle Adagio and the brisk Allegro non-troppo creates a sense of tension and release in the emotions.

Tchaikovsky skillfully uses orchestration, a musical phrase, by employing the various orchestral sections to produce diverse timbres and colors. The dynamics, which contrast large, strong passages with gentle, sensitive moments, are vital in determining the emotional arc of the piece (Pyotr et al., 2013). The use of crescendos and decrescendos enhances the drama and depth of the performance as a whole. I found the first movement to be moving. The Seoul Philharmonic Orchestra perfectly encapsulated the spirit of Tchaikovsky’s piece, capturing the emotional journey from reflection to exhilaration. The sweeping melodies stirred up various feelings in me, from introspection to a sense of victory.

Second Movement: Allegro con grazia

The strings begin the second movement of Symphony No. 6 with a supple and elegant motif. Myung-Whun Chung, the conductor, guides the ensemble with dexterity, enabling the melodic lines to rise and converge. The melody at the Allegro with the Grazia part conjures up memories of twirling waltzes while also bringing a sense of vitality and elegance (Bohrer, 2018). The woodwind group excels in this movement, bringing a delightful and whimsical aspect to the overall music. The rhythmic fervor and crisp articulation of the strings enhance the buoyancy and vigor of the performance.

Technically speaking, the idea of pace is essential to comprehending this movement. The Seoul Philharmonic Orchestra easily exudes grace and fluidity in the Allegro with a Grazia pace. The orchestra’s interaction with one another, with each instrument given a chance to shine, exemplifies Tchaikovsky’s deft orchestration (Bohrer, 2018). I felt a sense of excitement and lightness during the second movement. I was immediately taken to a ballroom full of dancers spinning gracefully, thanks to the music, and I could not help but get carried away by the beautiful tunes. The orchestra’s excellent execution and dynamic performance made a strong impression.

Third Movement: Allegro molto vivace

Symphony No. 6’s third movement explodes with explosive fire and unrelenting force. The music moves onward with urgency and excitement due to the Allegro molto vivace tempo. The brass band is prominent, adding forceful fanfare to the bouncy rhythms. The strings establish a strong foundation with quick arpeggios, and the woodwinds add delightful melodies. The interaction between the components weaves a vibrant, vivacious tapestry of music. Understanding the third movement requires knowledge of the concept of rhythm in terms of technical terminology (Pyotr et al., 2013). The orchestra exhibits flawless rhythmic accuracy, navigating the challenging and intricate rhythmic patterns effortlessly. Syncopation gives the music a sense of unpredictability and movement. With its high-octane energy, the third movement left me out of breath. I felt energized and enthusiastic by the pounding rhythms and thrilling melodies. It was impossible to avoid being overcome by the performance’s overwhelming excitement. Tchaikovsky’s Symphony No. 6 performance by the Seoul Philharmonic Orchestra was fascinating. The musicians brought Tchaikovsky’s masterpieces to life by showcasing technical prowess and emotional depth. The video’s depiction of the concert setting contributed to the performance’s majesty and significance. The attendees’ formal clothing and the opulent music space brought an air of reverence and expectation.


In conclusion, seeing the Seoul Philharmonic Orchestra perform Tchaikovsky’s Symphony No. 6 online was a fascinating experience. An outstanding performance resulted from the orchestra’s technical prowess and ability to communicate the emotional undertones of the piece accurately. Even though it was on a screen, the concert setting replicated a real concert’s grandeur and sense of occasion. This symphony profoundly affected me, evoking a range of emotions and reinforcing the eternal power of classical music with its rich melodies and powerful themes.


Symphony No. 6 in B Minor, Op. 74 “Pathetique” – Pyotr Ilyich Tchaikovsky. (2013). [YouTube Video]. In YouTube.

Alikperova, S. (2022). The Tchaikovsky Violin Concerto: Revisions And Repertoire For Performance Technique (Doctoral dissertation, Bilkent Universitesi (Turkey)).

Bohrer, I. A. (2018). A Comparative Analysis of Pyotr Ilich Tchaikovsky’s First and Sixth Symphonies.


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