Musicology Annotation << Back «…Turning in the antipode» About one dramaturgic reception by Tchaikovsky Alexander Ya. Selitsky Among favourite dramaturgic decisions of Tchaikovsky – sharp opposition of parties of the confl ict is emphasized. The forces of counteraction (images of rock) are often introduced as a sharp, sudden turn, they seem to invade development. In instrumental works such intrusions invariably cause opera and theatrical associations, as, for example, at the beginning of development of Allegro non troppo of the Sixth symphony. The article draws attention to cases of another kind, when the fateful forces mature gradually, as it grows from within lyric images. As the material of the analysis, ballet adagios were chosen: fi ve corresponding numbers from the «Sleeping Beauty», the famous Adagio from the «Nutcracker» and Elegy from the Orchestral Suite No. 3. The complex of means of expression, characteristic of images of fate (tembro-dynamic, rhythmomelodic and others) in these examples arises by consecutive accumulation of elements so to defi ne the moment of replacement of a lyrical image, his transformations into the contrast it isn't possible. Particularly brightly studied principle is when the radical lyrical transformation is subjected to the title lyric theme. This is the fundamental difference of the analyzed works from the famous Andante cantabile of the Fifth Symphony, where both tragic climaxes were realized precisely as an invasion of a foreign origin. Keywords: musical dramatic art, parties of the confl ict, «fractures » in development, Gradual germination of counteraction. Contacts: E-mail: aria11@yandex.ru Pp. 03-16.