The thematic material of this symphony’s last movement – one of the very finest symphonic slow movements – is derived in compressed form from the lyrical theme of the opening movement, and the trombone chorale that is heard near the end of the finale is itself a further reduction of the compressed material; only, in the finale there is no motion forward as the theme disintegrates – quite unlike the opening movement, where movement breaks forth wildly, forms a waltz in the second movement, and then marches forward still in the third – only to exhaust its effort in the final movement, the bassoons once again sounding the same pattern of turn very, very deep in their register. It is a most remarkable expression of art, and it is the greatest pity that Tchaikovsky died so soon after, just as he was reaching these great heights of composition and commentary on the melancholy fortunes of life.
There is some incredible orchestration in the 6th symphony. In the final movement, towards its end, when the moderato assai begins at bar 116, the timpani strikes 32nd notes for 20 consecutive bars, supported by the double basses first in 16th note triplets and then sustained notes. At bar 137 the timpani strikes its final note, a single F#, piano, but as an eighth note, and at the same time the tam-tam is struck, piano, to introduce the trombone choir, and its sounding is held for the first four bars of that choir. Something mysterious and profound occurs when the gong is struck. Not apocalypse, but a sad, quietened, impassioned, emotional going away.