itself. Now, however, the program takes over, beginning with a fugue, which is by its nature academic and undramatic, to depict the horde's discovery of Manfred within their midst. The result, though in many ways becoming a condensed recapitulation of the latter half of the first movement, becomes a fragmented movement with musical disruption and non-sequiturs, ending with the Germanic chorale depicting Manfred's death scene. Instrumentation Woodwinds 3 flutes (3rd doubling piccolo) 2 oboes cor anglais 2 clarinets in A, B bass clarinet 3 bassoons (3rd doubling contrabassoon in some performances) Brass 4 horns 2 cornets 2 trumpets 3 trombones tuba Percussion timpani bass drum cymbals tam-tam triangle tambourine bells Keyboard harmonium (usually played on organ) featured in the climactic coda of the finale. Strings violins I & II violas cellos double basses 2 harps Analysis Several features make Manfred unique among Tchaikovsky's works. It is the only programmatic work he wrote in more than one movement. The first two movements do not recapitulate their middle sections. The entire work is not only long, playing up to and sometimes over an hour, but it is designed with the utmost spaciousness in mind. There is nothing else in Tchaikovsky's works that captures the long-breathed deliberation of the third movement or the practically verbatim recapitulation of the widely variegated opening section of the second movement following the equally huge middle section. At least one critic has suggested that, in its heroic but perfectly judged dimensions, Manfred resembles Richard Strauss's later tone poem Ein Heldenleben. Musicologist John Warrack suggests that, of all Tchaikovsky's major neglected works, Manfred may be the one which least deserves this fate. While Tchaikovsky had his doubts about program music, he was actually better able to handle large forms when there was the impulse of an emotional idea behind the music. He apparently felt such an impulse—if not from Byron's poem, then from the program Balakirev gave him—and that impulse brought forth a work of great originality and power. While he did not follow Berlioz in how he might have handled the program, Tchaikovsky did make use of an idée fixe recurring in all four movements. He also followed a Berliozian design of a lengthy, reflective, melancholy opening movement, two colorful interludes as inner movements, and a finale in which Berlioz' Brigands' Orgy becomes (without any hint from the poem) a bacchanal. Here again is the description of the