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Pyotr Ilyich Tchaikovsky struggled with sonata form, the primary Western principle for building large-scale musical structures since the middle of the 18th century. Traditional Russian treatment of melody, harmony and structure actually worked against sonata form's modus operandi of movement, growth and development. Russian music—the Russian creative mentality as a whole, in fact—functioned on the principle of stasis. Russian novels, plays and operas were written as collections of self-contained tableaux, with the plots proceeding from one set-piece to the next. Russian folk music operated along the same lines, with songs comprised as a series of self-contained melodic units repeated continually. Compared to this mindset, the precepts of sonata form probably seemed as alien as if they had arrived from the moon.[citation needed]
Sonata form also was not designed to accommodate the emotionally charged statements that Tchaikovsky wanted to make. In this, he was far from alone—it was a major preoccupation of the Romantic age, to the point that the validity of the symphony was questioned seriously and alternatives to it were actually devised. These alternatives, which included program music in general and the symphonic poem in particular, did not offer a complete solution. Instead, they left Tchaikovsky facing a paradox. He reportedly did not care for program music, to the point of reproaching himself for writing the fantasy-overture Romeo and Juliet. Yet the notion of writing symphonies as purely intellectual patterns of chords, rhythms and modulations was at least equally abhorrent.
Nevertheless, Tchaikovsky attempted to adhere more closely at least to the manner of sonata form in his first three symphonies. They remain chronicles of his attempts to reconcile his training from the Saint Petersburg Conservatory with the music he had heard all his life and his own innate penchant for melody. Both those factors worked against sonata form, not with it. With the Fourth Symphony, Tchaikovsky hit upon a solution he would refine in his remaining two numbered symphonies and his program symphony Manfred—one that would enable to reconcile the more personal, more dramatic and heightened emotional statements he wished to make with the classical structure of the symphony, showing, as musicologist Martin Cooper phrased it, that "his inspiration was stronger than scruple."
Scrutiny over Tchaikovsky's work, however, has remained intense at times, especially among critics. The fact that Tchaikovsky did not follow sonata form strictly and instead amended it creatively has been seen at times as a weakness rather than a sign of originality. Even with what music critic Harold C. Schonberg termed "a professional reevaluation" of Tchaikovsky's work, the practice of faulting Tchaikovsky for not following in the steps of the Viennese masters has not gone away entirely. More often than in the past, however, his approach is being viewed as innovative rather than evasive and an effective fusion of two dissimilar musical philosophies.