Dear, Mr. Langston. Thank you for replying to my previous question.
Today I have another question.
French word "Sujet" means "Subject". So I think that "Sujet" in "Swan
Lake" is important piece. However it consists of only sixteen bars, like a
only introduction to the next number Polonaise. And Tchaikovsky did not
specified the tempo in it. So I'd like to know why it is counted as "one
I suppose that Tchaikovsky composed and structured the Ballet "Swan
Lake" in SYMMETRY. Because the numbers of the first act and the third act
are five pieces respectively, and similarly the second act and the fourth
act have ten pieces each; the former half 10–5 and the latter half 10–5.
For examples; the finale of the first act finishes in B major
substantially and the third act ends in F major factualy, that is, the
keys are most remotely located in the circle of fifths. And at the finales
of each act appears "the Swan Song".
Introduction is not numbered and its "counter-partner" the 15th is not
titled. Both the 2nd and the 17th are waltzs. the 4th is "Pas de trois"
and the 19th is "Pas de six". The 8th and the 23rd are Polish dances
each(Polonais, Mazurka). Also the 7th starts in A major substantially and
the 22nd begins in A major factualy too.
That are my thoughts, but I have found no more common features of the
7th and the 22nd.
Could anyone please let me know why the 7th number in the Ballet "Swan
Lake" is extremely short.
Dear Kamomeno Iwao
I think this number only plays a role of transition as it says : "Il
commence à faire sombre. Un des invités propose de danser une dernière
danse les coupes à la main" which means that somebody suggests they dance
one last time with the cups. In french, the word "sujet" may have several
meanings, such as :
- a subject (of monarch),
- or an idea, a theme (a melody), which I strongly think is the
- or even a question in a conversation (examples : "Nous avons traîté
plusieurs sujets" ; "C'est à quel sujet ?").
Indeed I have never thought of symmetry in Swan Lake. I think one
common thing in Nos. 7 and 22 is the C rhythm. Maybe Tchaikovsky intended
to use the tempo of the end of the Pas d'action No. 6...and as it is only
a transition he may not have felt the need to precise the tempo...
Hope it helps...
Dear Mr. Bryan Chahla
Thank you for your kind comments and suggestions. But I am a Japanese
and not good at English. So I cannot understand the meaning of "the C
rhythm". And the tempo of the end of the Pas d'action(#6) is "Allegro".
Tchaikovsky have usually used the tempo "Allegro" as "quarter note =
around 132". May Tchaikovsky intended to use the tempo "Allegro" for
"sujet"(#7) indeed? So fast. Or rather, might the tempo for "sujet"(#7) be
"tempo di Polacca"(quarter note = 104 or more slow)?
I think that Tchaikovsky intended to draw attention by arranging "#7"
strangely. Tchaikovsky use transposing instruments clarinetts and cornetts
a pistons mainly in A for the former half(the first act and the second
act) and in B for the latter half(using clarinetts in C for only #15).