Here I keep in general outline to the usual traditional forms, but only in general outline, i.e. the sequence of the work's movements. The details can be treated very freely, if this is demanded by the development of the ideas. For instance, in "our" symphony the first movement is written with very marked digressions. The second subject, which should be in the relative major, is minor and remote. In the recapitulation of the main part of the movement the second subject does not appear at all, etc. The finale, too, is made up of a whole row of derivations from individual forms... Cooper suggests that for Tchaikovsky the symphony had become "a form, a convenience, no longer the natural, instinctive channel for his musical imagination" that it could or should have been had he followed strict Germanic practices. Even if this could have been the case with Tchaikovsky, the path would have been difficult. Cooper explains "that lyrical emotion should find its natural expression in sonata form is perhaps not unthinkable, but only if that form is so natural to a composer, both by instinct and habit, that it has come to be really an acquired instinct, a 'second nature,' as we say; and this was certainly never true of Tchaikovsky." Brown writes that while Tchaikovsky "was not without a certain measure of the true symphonist's gift for organic thematic growth," he concurs that for him "to create the sort of complex organic experience" that would allow him to meld lyric expression with sonata form "lay beyond his abilities." Nor, again, was this solely Tchaikovsky's dilemma. "The Romantics were never natural symphonists," Cooper writes, for basically the same reason as Tchaikovsky—"because music was to them primarily evocative and biographical—generally autobiographical—and the dramatic phrase, the highly [colored] melody and the 'atmospheric' harmony which they loved are in direct opposition to the nature of the symphony, which is primarily an architectural form." Two breakthroughs which, according to Brown, Austrian musicologist Hans Keller, Dutch musicologist Francis Maes and Soviet musicologist Daniel Zhitomirsky, came to Tchaikovsky while composing his Fourth Symphony, worked hand-in-hand in giving him a workable solution to building large-scale forms. The first answer was essentially to sidestep thematic interaction and keep sonata form only as an "outline," as Zhitomirsky phrases it, containing two contrasting themes.