It's a party

Unlike Nod-Krai's main theme, which puts a lot of weight on the vocals and their lyrics (which talk about Hyperborea, the Frostmoon Scions, and Columbina), Snezhnaya's main theme focuses more on musical leitmotifs. (A leitmotif is a short, recurring musical phrase that is associated with a particular subject, such as a character or an idea. Genshin's soundtrack makes heavy use of leitmotifs, with one prominent example being the "Photon of Fluctuation" leitmotif heard in many battle themes.) That said, the leitmotifs and the few lyrics that the theme contains work closely together to tell us what Snezhnaya is all about.

Finally, after half a decade, the Travail leitmotif for Snezhnaya is here! And it's just as powerful as it sounded in the Travail teaser. Of all the nations' main themes, I think Snezhnaya's sounds the most like a battle theme. It's full of defiance, like calling people to rise up against their fate and the Heavenly Principles. There are certain leitmotifs that hint at its battle theming, which I'll get into soon.

The Travail leitmotif that serves as the introduction is followed by a bayan (a type of accordion) accompanying a solo trumpet line that sounds very similar to the main melody of "Triumph on the Ice", the battle theme performed in the livestream (whose melody was first introduced in "Rekviem of Snezhnaya", the Transcendence Trailer soundtrack). After this, the melody of the theme comes in, played by a balalaika and cello section.

The choir begins here. I previously mentioned that Snezhnaya's theme has a battle feel, and this is laid bare in the first two lines of the lyrics (which are in Latin):

Proditi sumus a mundo We are the wounded ones, betrayed by the whole world Novum mundum omnibus aequum condemus We shall create a new world, one in which no one shall ever be forsaken

Another hint that Snezhnaya's main theme doubles as a battle theme is that it contains the "Photon of Fluctuation" leitmotif. As far as I'm aware, no other nation's main theme does this. You can hear the "Photon" motif when the choir sings the second half of the second line of lyrics ("aequum condemus"). Underneath the choir, the French horns play the "Triumph on the Ice" melody that the solo trumpet had at the beginning of the piece.

After the choir, the melody comes back in, now played by the bayan. I feel that there's almost a sense of longing here. The rhythm begins to pick up, becoming very reminiscent of the fast dual feel ("1 & 2 & 1 & 2 &") of Russian folk songs like "Korobeiniki" (aka the Tetris theme), "Katyusha", and "Kalinka".

This is followed by the choir singing none other than the leitmotif of the Fatui Harbingers (accompanied by a very eerie-sounding synth that plays the same melody):

Sidus album vos suscipite Lift up your eyes to the white, glimmering Pale Star, for that is our banner Terram motam vos quatite Join our ranks, and let our marching boots shake the earth like thunder

As we know, the Fatui are Snezhnaya's the military force and the strongest of the seven nations. Everything they do is for the Tsaritsa and her vision. Most Fatui Harbingers share a leitmotif in their music:

Childe: "Never-Ending Performance", "Wrath of Monoceros Caeli"

Signora: "Chrysalis Suspirii", "Saltatio Favillae", and some other tracks that play in scenes where she's involved

Scaramouche: "Polumnia Omnia"

Arlecchino: "Chorus Cinericius", "Absolutio Absoluta Absolutissime", and some other tracks that play in scenes where she's involved

Sandrone: "La preuve d'une demoiselle, ou le bal de la numerologie"

Pantalone: "What Gold Cannot Touch"

OVERALL: "Elogia Cinerosa", "Rekviem of Snezhnaya"

The Fatui leitmotif is missing from music related to Capitano, Columbina, and Dottore:

For Capitano, it's because his involvement in the main storyline wasn't for the Tsaritsa's plans, but rather for his true motivations to save Natlan from the Abyss and atone for Khaenri'ah. By the end of the Natlan Archon Quest, these motivations completely overshadowed his Harbinger duties.

For Columbina, it's because by the time we meet her, she's not with the Fatui anymore and is instead playing her role as a moon goddess.

For Dottore, it's because he was always acting in his own best interests.

I remember reading some comments that said this part of the Snezhnaya theme was a callback to Signora's theme ("Saltatio Favillae"), and I think this might be because they have very similar rhythms (that chugging sound in the low strings) and harmony lines (the fast stuff in the high strings). However, it doesn't refer to any specific Harbinger; instead, it refers to the Fatui and Snezhnaya's military might as a whole.

After the Fatui leitmotif, the orchestra picks things up, and the "Triumph on the Ice" melody sneaks back in alongside some crazy fast stuff in the piano. Here the theme sounds more march- or fanfare-like with all the brass and percussion. It's truly a call to arms. "Join our ranks", indeed!

This is followed by the re-entrance of the melody, again played by the bayan. There's also a new instrument: synth (electronic) drums! They could symbolize Snezhnaya's advanced technology, or they could even symbolize the Abyss - some music associated with it is electronics-heavy for an otherworldly feel. Some examples: "Silhouette of Catastrophe" (All-Devouring Narwhal phase 2 where you fight Surtalogi's shadow), "Shuttling Through the Abyssal Rift" (from Skirk's story quest), and "What Sleeps in Shadow Now Wakes" (Wild Hunt battle theme).

Then the music quiets down. Here, high-pitched metallic instruments like the celesta and glockenspiel play underneath the melody, giving this part a mystical feel. You can also briefly hear sleigh bells at the very beginning of this section. These instruments sound cold like ice, appropriate for the nation that this theme represents. They're also quite representative of the Tsaritsa herself, with all the descriptions of her being "cold". As Columbina describes her:

"She seals her emotions beneath thick sheets of ice. The outside world sees but one side of who she is…that of the Tsaritsa. If the answers I sought rest on the moon, perhaps hers lie buried in snow and ice."

The music swells again, and the choir sings the Fatui leitmotif again with countermelodies played by the strings and brass:

Novum mundum incohemus, vos qui mecum tenebras initis You who will walk with us into the land of darkness, come! Let us create a new world together

But then they depart from that leitmotif:

Ex ruinis ordo novus condemus Know that the destruction of all precedes the birth of a new order In fine ab Anastasia servati sumus, aurora orietur Only our Tsaritsa, Anastasya, shall usher in the perfect dawn

These lyrics seem to suggest that the Tsaritsa is willing to do a complete upheaval of Teyvat and its "rules" in her war against fate, even if it means walking into "the land of darkness", and that the Harbingers loyally follow her so that she can see this through. As the choir sings that final line, the Fatui leitmotif never returns, but the rhythm from the first time they sing it do come back. The rhythm is played by the low strings and percussion, just as it was before. And with a final flourish, the main theme comes to an end.

Speaking of "the land of darkness", this makes me think of what Tolfin, the bard NPC you can find around Nod-Krai, says about Snezhnaya:

"This song I raise in honor of the valiant warriors who battle the things of darkness, and in tribute to all present here. Hear me sing of The Belyi Tsar's Expedition, and of the sacrifice of princes and heroes alike." "…Day by day they battled the hounds of the God of Darkness (Chernobog). The valiant warriors of Kitezh, their shouts held back the desolate plains, their golden shields spanned the open wilds…" "…The earth did roar like rolling thunder, while arrows rained from storm-dark skies asunder. The children of the God of Darkness pressed near, seeking to encircle the forces of Snezhnaya with fear…" "…At noon on the seventh day, the banners of the Belyi Tsar fell in disarray. Beneath thundering hooves, black soil drank the crimson spray — thirst bent their bows, and sorrow choked their quivers drained…" "…Grieve not for the valorous fallen, nor fret for the tides of time. To wash away our lord's dishonor, rise, brothers, and in unity, repay with blood the brave who bore this crime…"

Makes me think this "Chernobog" guy might be relevant in Snezhnaya. He's named after the Slavic god of darkness and misfortune, after all.

I love that Snezhnaya's theme features a solo pianist and a choir - the pianist can represent the Tsaritsa (which I'm sure was what they were going for, seeing how Polina Osetinskaya was dressed like the Tsaritsa), while the choir can represent the Fatui (or even all the people of Snezhnaya?) who put their faith in their leader. She's going to war against the Heavenly Principles, and Snezhnaya will go alongside her. "Only our Tsaritsa, Anastasya, shall usher in the perfect dawn." I love storytelling in music!!!

Traditional instruments used in Snezhnaya's main theme

Now let's take a look at the traditional instruments used in this theme.

Bayan

A type of Russian button accordion. It was developed in the early 1900s and is commonly heard in Russian folk music. It has a rich, smooth sound that can capture a wide variety of emotions - in the Snezhnaya theme's case, it can be anything from nostalgia to heroism to resilience, and we've heard plenty of talk about the theme of "struggle" with Snezhnaya.

Balalaika

A Russian lute with three strings and a triangular body. It's believed to have been developed in Russia sometime in the 1700s and most likely evolved from the domra, another kind of lute, and is closely associated with Russian folk music. In the 1800s, Tsar Alexis of Russia, who was devoutly religious, viewed folk musicians as "immoral" and issued an edict that stated that folk instruments be confiscated and destroyed, and that "people who play them should be beaten and sent to the end of our state." The balalaika managed to survive thanks to Vasily Andreyev, a Russian musician who was responsible for reviving and modernizing Russian folk music instruments - to the point where, during the Soviet era after the Russian Revolution, the Soviet government promoted folk culture as a part of national pride.