Motive is introduced by clarinet and bassoon (2:52), flutes are introduced (3:06), and then upper strings (3:19).
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In Symphony No. 5, Andante-allegro con anima, Tchaikovsky doesn't develop the motif of the movement. The motive is constantly being passed around the orchestra. A common stylistic trait of Tchaikovsky is that he never develops a motive once he states it. He introduces the main motive of the movement in a pickup into measure 41 in the clarinet and bassoon. The motive is then imitated by other instruments throughout the movement. For example, the motive is passed to the flutes (measure 51) and the to the strings (pickup to measure 58). Throughout this movement, the motives or themes are always introduced by the woodwinds or brass and the given to the strings. Although, unlike Hava Nagila, there are multiple motives that are not developed rather than just one. For example, in the introduction to the first movement is repeated in the introduction of the finale. This pattern of undeveloped motives and themes is a characteristic of Tchaikovsky's works such as the reoccurring and undeveloped theme in his Swan Lake Waltz.
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Similar to Symphony No. 5, Havah Nagilah introduces the motive but never develops it. The entire piece is monophonic and there is no development in any of the parts. The motive, consisting of quarter notes, dotted quarter notes, and eighth notes, is introduced by a choir after a short piano introduction. Because development must involve motives from various parts of the composition, it is not possible in the piece considering there is only one motive. This is characteristic of all psalm type pieces because they are meant to focus on one idea. Typically, psalms consist of one statement repeated over and over again to a tune and Havah Nagilah is no different
(0:11)
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