While there have been numerous studies on Tchaikovsky's life and his major compositions, such as symphonies, operas, and music for ballet, the Grand Sonata in G major, Op. 37, has been neglected by scholars and performers. The common perception of this composition's weakness due to its episodic nature proves the need for an analytical assessment of its organization and unifying elements, which may influence performance and pedagogical decisions. Although many believe that Tchaikovsky's compositions are inorganic and disjointed, a careful study of the unifying elements of the Grand Sonata provides information to the contrary. The purpose of this work was to examine the methods that Tchaikovsky employed to unify the musical sections within each movement of the Grand Sonata, as well as the unifying elements between the movements. These elements included melodic and dynamic shape, rhythmic and harmonic patterns, form and structure, tonal plan and key relationships, and textural similarities. Recognizing such elements and understanding their importance can strengthen the expressive interpretation of the Grand Sonata and contribute to the successful performance of the work. It is hoped that the interpretive suggestions in this study will help with the understanding of the suppressive and propulsive elements of the Grand Sonata and dealing with some elements of the work that pose a challenge to a successful performance.
