After both the Sugar Plum Fairy and her Prince have dazzled with their respective variations, the pas de deux concludes with a virtuosic show stopper for them both. Gone are the grave harmonies and the eerie desiccation of the celesta. This is a genuinely happy and glorious conclusion. Tchaikovsky was asked to provide 'still lively music in 2/4 - 88 bars' and although he exceeded his brief, writing 102 bars, Petipa's description couldn't be more apt. There is a bouncing accompaniment on top of which Tchaikovsky places another descending melody. The emphasis on the ninth note in the scale lends a heartfelt quality, but the harmonies are otherwise simple. The first phrase moves to the dominant and the second phrase moves back to the tonic; it's just like the foursquare clarity of the overture. The presence of the submediant (next to the dominant in the scale) gives a slight minor tinge, but it too is understated. Such a move, however, does preface more chromatically inflected harmonies. There is a brief moment in E minor, there are diminished chords and all the richness of the composer's palate. Whereas before these harmonies portended emotional truths or elements of danger, Tchaikovsky quickly moves away through runs and sequences to more traditional tonal ground. This is a dance of resolution and it ends with a dazzling (if abrupt) cadence in D major.Today's Track on Spotify.
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Yuhui Choe as the Sugar Plum Fairy in The Royal Ballet's production of The Nutcracker
Photograph © ROH/Johan Persson
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