Ngfl Dimitri Shostakovich Background Information

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DIMITRI SHOSTAKOVICH the man

Dates: 1906 - 1975

Nationality: Russian

Some background details: Dimitri Shostakovich was born in St. Petersburg, which at the

time was the arts capital of Russia. His musical talent as a child prodigy pianist and composer

was recognized early on, and at the age of just 13 he enrolled at the Conservatory. However, in

his 3rd

year, just before he was about to study full-time, his father died. A year later,

Shostakovich himself was diagnosed with tuberculosis, and he remained often in poor health

throughout the rest of his life. His mother was a highly accomplished pianist, and after she lost

her job in 1924, he decided to go to work playing the piano at a local cinema accompanying the

films but hated it! It was during this time that he composed his first symphony, which he

eventually submitted as his graduation piece. It brought instant success and recognition, and

the Soviet authorities held the young composer to their hearts as the beacon of Soviet art.

Shostakovich was to be the first Russian composer of international repute to emerge as a

product of the musical culture during the period of the Soviet Union, but throughout his

musical career he had a very difficult relationship with the Soviet government. Vladimir Lenin

(1870 1924) was a Russian revolutionary and communist politician who became the first head

of the Russian Soviet Socialist Republic. At that time, the Soviet cultural bureau was keen to setnew trends, and they recognised that Shostakovich could be used as a valuable political tool.

They commissioned him to write works for the concert hall and stage, and promoted him

abroad as the leading representative of Soviet art. However, by the early 1930s, certain aspects

of his musical style (e.g. the dissonant harmonies, avant-garde forms and sardonic idioms)

brought him into disfavour with a government then headed by Joseph Stalin (1878 1953). He

experienced the first of his setbacks with the authorities when his opera The Nose was



denounced as a product of bourgois decadence by the association of Proletarian composers.

Though it took a little time, Shostakovich re-assumed his position in soviet music - but then his

opera Lady Macbeth of Mzensk Distri ct (written in 1934) also became heavily criticized. It had

been a magnificent achievement, and ran very successfully for over two years, but suddenly it

became the victim of a political blitz! Stalin hated it and the Russian newspaper Pravda

presented a blistering condemnation of it: Muddle instead of musicdeliberately dissonant,

confused stream of soundssinging replaced by screaming.. and so on. As a result, the opera

was withdrawn, and Shostakovich found that other works of his were also condemned. For

some time, he felt in danger of his life, and was forced to re-think his approach. His fifth

symphony (1937), with its simpler harmonies and happy ending found favour again, and was

another tremendous success. He had bounced back with amazing resiliency; but later almost

unbelievably - his ninth symphony was denounced, and in February 1948 he was once again,

along with others, denounced by the communist party for decadent formalism. Shostakovich

acknowledged his guilt, and turned to writing music which fulfilled the requirements of the

Communist committee. Increasingly, the government had favoured a culture which was to

reject all art that did not directly serve the revolutionary cause and the people. The relationship

between state and composer was far from easy. Indeed, both Shostakovich and Prokofiev had

suffered along with many other artists in Stalins purges, which were designed to ensure that

the arts reflected the political aims of the state. Effectively, this repression removed Russian

composers from their place in the evolution of musical style, and their errors of atonality, lack

of melody and dissonance were openly criticized by government advisors in 1948.

Shostakovich gave the government what they wanted. In 1949, his oratorio The Song of the

Forrests was awarded the Stalin prize the 3rd

time he had won it! Ultimately, however, it was

only after the death of Stalin in 1953 that conditions improved and composers could express

themselves more individually.

Shostakovich died on August, 1975, in Moscow, where he was given a state burial and

recognised by the world press as an outstanding and popular composer.

RESEARCH! Use the Internet and Library. Make notes to keep in your file.

Find out and read more about Shostakovich, and the ways

in which his music had been affected by the rulings of the Sovietgovernment.

Shostakovichs alleged memoirs Testimony FACT OR FICTION?



DIMITRI SHOSTAKOVICH the composer

The frequent changes of official attitude to Shostakovichs music were very interesting and

clearly had an effect on the composers output. Indeed, it is probably fair to say that few major

composers have been so uneven in their production! Shostakovich has his followers who

describe his music as vital, spontaneous and powerful; but he also has critics who describe hiswork as synthetic and commonplace.

His output is extensive:

o 15 symphonies (perhaps his most important compositions),

o 15 string quartets,

o various chamber works,

o 6 concertos for various instruments,

o song cycles,

o

solo piano pieces,o some cantatas and oratorios

o 2 operas (and an operetta),

o ballets,

o 36 film scores and incidental music for 11 plays

o Some orchestral suites (taken from his other pieces).

DIMITRI SHOSTAKOVICH - general compositional style

As a composer, Shostakovich worked with both the old and the new. He was -

rooted in tradition and tonality, yet using dissonance and occasional atonality as expressive

means without adhering to any traditional school (Grove)

He combined elements of the classical and romantic eras, and also used comedy, sarcasm and

irony; his individuality grew out of the contrast between an almost sentimental lyricism and a

vigorous, grotesque dissonant wit. At times, his work reflected a variety of trends (e.g. both

neo-classical, and post-romantic), with a bias towards a simple symphonic idiom.

Shostakovich was a symphonist first and dramatist next. His art derived from the language of

instruments as he wrote with imagination and understanding for the orchestra. It is alsoimportant to remember that his music drew on the circumstances of his personal life and his

country.

Shostakovich was influenced by: Bach, Russian traditions from Glinka to Stravinsky, Hindemith,

Mahler, Berg and modernism, neo-classicism, popular music including jazz - and folk

traditions.



Some stylistic features of his music include:

Imaginative orchestration, clear, economical and well-projected.

Use of instruments in extreme registers.

Transparency in his scores, with widely separated orchestral lines.

Unexpected contrasts of sound.

Use of effects e.g. glissandi.

A sense of form which was enhanced through his manipulation of the orchestra.

Confident handling of large structures and forms, often building on long and simple

tonal planes.

The use of endless repetition, relentless rhythmic patterns and harmonic insistence

rather than variety.

The tendency to shorten the recapitulation sections (in line with 20th

century

aesthetics).

Big dramatic contrasts which were not profound but seemed so!

A unique approach to tonality, which included modal scales, and some harmonies akin

to Hindemith / Prokofiev. A tendency to work with patterns and intervals (melodic invention was probably not his

strongest feature).

Use of a personal motto theme (DSCH see later notes).

Melodies were often long.

Melodies sometimes included leaps from low to high.

Motifs were often based a motif on a minor 3rd

, which were then expanded by a

semitone, before returning back to the original minor. (This device is clear in the DSCH

motif).

Some linear textures. Unison and octave passages.

Contrapuntal techniques.

Some use of simple triadic ideas but also other harmonies which were chromatic,

some even dissonant.

A sense of tonality, which was recognizable and often rested on a firm diatonic base.

DIMITRI SHOSTAKOVICH - The string quartets

LISTEN!....to different types of music written by Shostakovich. Make notes on your first impressions, and keep

in your file or musical diary. Have a work of the week! Listen individually or in pairs, and then discuss the style

as a short task in class. Ask your teacher for suitable pieces the following would do to make a start:

Symphonies nos. 1,5,10 and 15

Opera Lady Macbeth

Cello Concerto no 1, violin concerto no.2

String Quartet no.15, the Viola sonata (op.147)



As Shostakovich grew older and more reflective, he wrote more chamber music. This proved to

be a genre which enabled him to explore different and often darker ideas. These works were

mainly tonal, but they gave him an outlet for sombre and individual reflection not welcomed in

his more public compositions. Most notable from his chamber catalogue are the Piano Quintet

(1940), Piano Trio No. 1 (1943), String Quartet No.8 (1960), and String Quartet No.15 (1974).

Between 1938 and 1974, Shostakovich composed a remarkable series of 15 string quartets.

These are often regarded as the finest in the repertoire after Beethovens, and along with

Bartok's six, are regarded as possibly the greatest string quartets of the twentieth century.

Shostakovich had apparently planned to write a complete cycle of quartets so as to have one

in every major and minor key. He only managed to complete 15 out of the planned 24, but it is

useful to bear this large scale project in mind, so that the quartets may be seen in their rightful

context.

String Quartet No. 1 in C major (Op.

49)

Composed in 6 weeks

1938

No dedication

Is an optimistic work and quite Beethovenian in style. Shostakovich

wrote of this quartet: "I visualized childhood scenes, somewhat

naïve and bright moods associated with spring. It consists of fourshort movements, with the inner movements providing a contrast i

both mood and key. The lyricism and shading of the second

movement is particularly noteworthy.

String Quartet No. 2 in A major (Op.

68)

1944

Premiered by the Beethoven

quartet

Dedicated to the composer

Vissarion Shebalin.

One of the longest quartets, which is only one minute shorter than

his longest quartet, no.15. It was the only one actually written in

wartime (1944), and it consists of four movements.

String Quartet No. 3 in F major (Op.

73)

Written after the 9th

symphony had been censured

Dedicated to and premiered

by the Beethoven quartet

The work was denounced

Shostakovich was accused of hiding coded subversive messages

against Stalin within this work. It consists of 5 movements and was

later successfully arranged for chamber symphony.

String Quartet No. 4 in D major (Op.

83)

1949 Premiered in 1953

No dedication

This quartet has four movements, and marks the beginning of a

mature quartet style. Though it is not as directly Jewish as some

other works, it is coloured by folk-like and vaguely Middle Easternmelody, rhythm and texture. Note: the first violin part in the secon

movement, the menace and humour of the third movement scherz

the link to the last movement by a viola incantation, and the

complexity of the final movement.

String Quartet No. 5 in B flat major

(Op. 92)

1952 but not premiered until

This quartet is a substantial and even symphonic-like work lasting f

almost half an hour. It consists of three movements performed

without a break. The material grows from a five note motif: C, D, E



1953

Dedicated to, and premiered

by, the Beethoven quartet

Was withheld from public

performance during the

period 1946-53 during the

ban on music deemed to be

inaccessible to the wide

masses.

flat, B and C sharp, which contains the composer's personal motto-

DSCH (E flat being S, and B being H in German). This monogram also

appears in the Eighth quartet, and the Tenth Symphony.

String Quartet No. 6 in G major (Op.

101)

1956


Quartet

No dedication

This was the first quartet written post-Stalin. It is generally less

weighty, and more lyrical in content, with the first two movements

being carefree and cheerful. It consists of four movements in all.

String Quartet No. 7 in F sharp minor

(Op. 108)

1960

In memory of his first wife


Quartet

The shortest string quartet, but a very personal work, dedicated to

his wife. It consists of three movements which are performed

without a break.

String Quartet No. 8 in C minor (Op.

110)

1960

Written in 3 days


Quartet

According to the score, it is

dedicated "to the victims of

fascism and war.

Probably the most recorded quartet of the set, and one of the

bleakest and most private works he wrote. Shostakovich's friend, Le

Lebedinsky, said that Shostakovich thought of the work as his

epitaph and suggested that the composer planned to commit suicid

around this time. The work is compact and is in five interconnected

movements.

The DSCH motto introduces the first movement, and is used in ever

movement of this quartet. The work is also filled with quotes of

other pieces by Shostakovich. In addition, it has been transcribed fostring orchestra, in which version it is known as Chamber Symphon

in C minor (Op. 110a).

String Quartet No. 9 in E flat major

(Op. 117)

1964


Quartet

Dedicated to his 3rd wife

This work took Shostakovich three years to complete. It consists of

five movements, which are played without pause.

String Quartet No. 10 in A flat major

(Op. 118)

1964 Premiered by the Beethoven

Quartet

Dedicated to his friend Moisei

Weinberg.

The work has four movements: Andante; Allegretto furioso; Adagio

and Allegretto - Andante.

String Quartet No. 11 in F minor (Op.

122)

1966

This piece breaks from the more traditional four-movement

structure, as it presents seven separate short movements (more

comparable with a partita or divertimento). The movements are




Quartet

Dedicated to Shirinsky, the

second violinist of the

Beethoven quartet.

thematically unified by a sequence of phrases introduced at the

beginning of the first movement.

String Quartet No. 12 in D flat major

(Op. 133)

1968

Dedicated to Tsyganov, thefirst violinist of the

Beethoven quartet.

The work consists of two movements. It is worth noting the tempo

changes in each movement and the fact that use was made of a ton

row. It starts with a 12 note statement, but still feels as if it is in a

key. This was typical of Shostakovich.

String Quartet No. 13 in B flat minor

(Op. 138)

1969/70

Completed when

Shostakovich was undergoing

treatment at an orthopedic

clinic in Kurgan.

Dedicated to Vadim

Borisovsky, violist of the

Beethoven Quartet.

This is the only quartet in a single movement: Adagio - Doppio

movimento - Tempo primo. It is about 19 minutes long, is highly

unified and is palindromic in form. It is dominated by the viola

throughout, opening with a twelve-tone row played on the viola,

and finishing with a long viola solo in the high register. It also

includes a number of unusual performance techniques i.e. tapping

on the bodies of the instruments with bows at several points

(unusual in Soviet music of this period).

String Quartet No. 14 in F sharp

major (Op. 142)

1972/3 dedicated to Sergei Shirinsky,

the cellist of the Beethoven

Quartet

This work consisted of three movements, and was started while the

composer was visiting the home of Benjamin Britten. It was finishe

in Copenhagen. The cello has the leading role in this piece.

String Quartet No. 15 in E flat minor,

(Op. 144)

One of two in the set not

premiered by the Beethoven

quartet

Written in 1974, year before

he died he was very frail

No dedication

This sombre work was the longest of Shostakovich's string quartets

It consists of six linked movements, all marked Adagio. The work

reflects his state of mind and failing health as it is tragic, intimate

and moving. Its restrained and dissonant style, (like that of thefourteenth and fifteenth symphonies), is again characterised by the

influence of Schoenbergs twelve-note aesthetic.

PRESENTATION: Choose a string quartet from the above (not the eighth!).Working with another

student from the A level music class; listen to the work, using a score if possible. Research the piece

in a little more detail, and make some general notes. Present your observations in the form of a

PowerPoint presentation, which could then be given to the rest of the class. In this way, you will gain

a broader understanding of the composers writing for string quartets.



DIMITRI SHOSTAKOVICH the Eighth Quartet

This quartet is probably the finest and single most recorded string quartet written by

Shostakovich. It is one of the most famous string quartets in classical music, vying for popularity

with the best known chamber works of Mozart and Beethoven - and was supposedly composed

in just three days! It has been described as autobiographical in that it includes references to

previous works written by the composer. It is certainly possible to sense the personal drama in

the music. There are also allusions to folk music, and some music of other composers. In

addition, there are many statements of DSCH, the composers own motto in music. The

prevailing mood of seriousness is programmatic, and the expressive power of the work evident;

only the powerful and violent att acca writing of the second movement lifts the piece out of

gloom and despair.

First performance: 2nd October, 1960, Leningrad, at Glinka Concert Hall. It was successful from

the outcome, and reviews were glowing.

Performed by: The Beethoven Quartet (Dmitri Tsyganov, Vasili Shirinsky, Vadim Borisovsky, and

Sergei Shirinsky).

Orchestrated versions of the work soon appeared, sometimes with added timpani. To

date, there have been at least 10 independent arrangements, none of them by the

composer. Note the arrangements for: piano four hands by Anatoli Dmitriev; wind octet

by Dmitri Smirnov; wind quintet by Mark A. Popki, and string orchestra by Rudolf Barshai

(Op. 110a).

The quartet is dedicated To the Memory of the Victims of Fascism and War.

It is of quite modest dimensions and consists of 5 movements, played without a break for

around 20 25 minutes.

General Background Information.

Whether the eighth quartet is about Shostakovichs reaction to World War II or a reflection of

his personal traumas has been the object of some discussion. Certainly, there are particular

circumstances surrounding the composition of this quartet, and controversy has sprung up

around it. For the purpose of study, and bearing in mind the dedication To the Memory of the

Victims of Fascism and War, it is advisable to be aware of the following theories.



1) Theory 1. The inclusion in this quartet of self-quotations and allusions should be

probably taken as confirmation of the composers identification with a fundamental

anti-war message. In July 1960, Shostakovich went to Dresden to work on a film score

about the heroic efforts of the red army soldiers as they rescued the art treasures of

Dresden before the final bombardment of the Second World War. While there, he saw

some of the film footage, and the ruins of the city. The dedication was said to reflect his

outrage and compassion, and in fact the work is sometimes known as the Dresden

quartet. The explanation that this was a war quartet held good even until after his death

in 1975. In fact, the slowed down twisting of the cello concerto quotation used in

movement four has been described in many commentaries as representing the drone of

aircraft and the explosion of bombs.

2) Theory 2. Some people felt that his unwilling candidature for membership of the

communist Party had filled Shostakovich with despair. He then sought to exorcize these

feelings in this quartet, a bitter musical retrospective over his damaged career, which

was dedicated to himself the victim. This second theory, which attempts to explain its

many quotations, is also feasible, and has become quite famous in more recent years. In

June 1960, just before he wrote the quartet, he was cajoled into applying for

membership of the Communist Party. This was something he had sworn he would never

do! But in poor health and in between his second and third marriages, he succumbed to

the pressure. He agonized at having betrayed his principles: in this light, the violent

chords of movement four are not bombs or aircraft, but the secret polices knocks on

the door in the dead of night. This had been a real threat that had dominated his life

under Stalin. It is known that he had kept a bag outside his door - so if the police had

come to get him, his family would not be disturbed. It is also worth realising that in the

days of oppression, a triple knock on a table from underneath was meant to signify that

the KGB were coming and everyone had to be careful about what they were saying or

doing.

There is no doubt that this is a very dark piece of music. In a letter to his friend, Shostakovich

says:

When I die, its hardly likely that anyone will write a quartet dedicated to my memory; so Ive

decided to write it myself. One could write on the frontispiece dedicated to the author of this

quartet..The pseudo- tragedy of this quartet is so great that while composing it my tears

flowed as abundantly as urine after downing half a dozen beers. Ive tried playing it twice and

Ive shed tears again, this time not because of the pseudo tragedy, but because of my own

wonder at its marvellous newity of form (That was probably a sarcastic comment in itself!)



Particular features of compositional interest in the eighth quartet:

1. A collage of quotations

This quartet is very rich in subtext and cryptographic reference. It has often been described as

autobiographical in nature. The quotes were not there simply to save time and effort; but the

re-crafting and incorporation of this significant material into a new composition was the

challenge. Throughout the quartet, each one of the quotations is introduced by the DSCH motif,and there is a chronological perspective. The composer seems to be looking back on his life,

older, sadder and wiser, as each of the pieces he quotes holds memories of such difficult times

for him (even though they were all great successes for him at their first performances). At

times, as in the inclusion of the quote of the cello concerto in movement IV, the transformation

is quite brutal.

In addition to the regular inclusion of the DSCH motto, several themes from other works

by the composer are quoted:

Symphonies No. 1, Op. 10, No. 5, Op. 47 and No. 8, Op. 65

Concerto for Violoncello and Orchestra No. 1, Op. 107

Piano Trio No. 2, Op. 67,

The Young Guard, Op. 75a (No. 6)

Katerinas Seryoscha, My Love from Act IV of Lady Macbeth of the Mtsensk

District, Op. 29.

It is worth noting that the work also includes an allusion to both the second theme from

Tchaikovskys Symphony No. 6, Op. 74 (first movement) and the Funeral March from Wagners

Götterdämmerung. In addition, he quotes from a revolutionary song in movement IV. As this

song was an emblem of the soviet Tzarist past, Shostakovich seems to be identifying with thevictims in his own country.

2. Use of the DSCH motif

The first solemn notes heard unaccompanied on the cello in movement I are Shostakovichs

personal four note musical signature. In the German transliteration of the Cyrillic alphabet, his

initials come out as DSCH. For reasons that go way back - in German, E¨ is spelt Es, Bª is their H,

and their B is our B¨. Bach famously introduced his monogram B¨-A-C-Bª into the incomplete

final contrapunctus of The Art of Fugue. (Many later composers pay tribute to it). Bach was animportant influence on Shostakovich, and not just in the use of this motto idea, as he also

adopted contrapuntal ideas and textures as found in much of Bachs work. In the same way as

Bach, Shostakovich was able to spell the German form of his initials in music and he did!

In doing so, he nearly always uses the narrowest pitch range, i.e. from the B up to E¨, as seen in

the opening bars of the quartet:



This is heard at the start of the quartet, as a fugal idea, heard first in the cello. Note that

the interval from B up to E¨ is a diminished 4th

.

Of course, the motto here is in the home key of C minor using the supertonic, the

mediant, the tonic and the sharpened leading-note of that key i.e. degrees 2-3-1-7 of

the C minor scale:

This apparently is the only time in Shostakovichs output that the motif actually appears

in the home key! Because of this, there is less friction between the motif and itsharmonic context.

As this motif appears so many times during the course of the quartet, it will not be

possible to highlight each one in the given analysis. If you have your own score, you

could always highlight the motto every time you notice it! Remember, sometimes it will

be heard in a different key.

3. Use of intervals

a) A minor 3rd

and a semitone

Shostakovich often based a motif on a minor 3rd

, and then expanded the interval

by a semitone to give a brighter feel, before returning back to the original minor

3rd. These intervals are clearly incorporated into the DSCH motif.

b) A diminished fourth

We have already established that the DSCH motif as identified above is based on

7-1-2-3, of the C minor scale which spans the interval of a diminished 4th

. This is

a collection of four pitches, technically known in music as a TETRACHORD.

In addition to the DSCH, Shostakovich adopts a number of other motifs from

these notes, and in so doing, uses the tetrachord in a variety of ways.



Some examples in movement 1 would be:

and

Movement V begins with two ideas together:

It is impossible to outline and identify all permutations here. At times, the motto and the

tetrachord are used in a variety of keys. (Remember, the highest and lowest pitches of the

tetrachord will give a diminished 4

th

interval which must not be confused with a major 3

rd

!

Eighth Quartet Summary of Structure

The work is in 5 movements. All are in the minor mode, with only intermittent glimpses of

major-mode colouration; this tonality supports the overbearing tension. The 5 sections are

continuous (i.e. att acca is written at the end of each of the first 4 movements so that the next

ANALYSIS:

It will be a good idea to keep your eyes peeled for these patterns,

intervals and tetrachords. Identify them as you study your own score and mark

them in with pencil or a highlighter pen!



movement follows on without a break; also the last 3 movements are linked by a note in violin

1 held on from the previous movement). Movements I, IV and V are all LARGO. The germinal

idea throughout is the DSCH motto, and because of the collage-type structure, the detailed

analysis concentrates on mainly melodic matters. Sometimes the melodic lines follow aspects

of fugal convention and imitation, but they are not always reinforced by conventional

harmonies in the way we would perhaps expect.

Movement ILargo

C minor

This is quite like a prelude in character. It has a fugal opening, but neverbecomes a fully fledged fugue! Instead of sustained contrapuntal workings, it

gives way to a self-quotation, then to quasi-vocal solos over long pedal points

which are quite arioso-like. Note the DSCH motif and variants of it; it is very

meditative, and perhaps not what you would expect from the first movement

of a string quartet!

Movement II

All egr o mol to

G# minor

A violent movement, and in a remote key (a semitone above the dominant).

It is an extreme contrast to the first movement and is a more straight-

forward, perpetual motion Scherzo substitute movement. Contains

substantial quotations from other works.

Movement III

All egr etto

Gminor

The dance of death movement. This is again very Scherzo-like in character,

and is more diverse in material than the Allegro, though they are both similar

in overall design. It is in the dominant minor key. Quite a haunting movement

said to be a portrait of Shostakovich himself.

Movement IV

Largo

C# minor

The key is unusually a semitone above the tonic, and the 3 long-drawn out

arioso passages mirror the first movement. The content (a mixture of

outward oppression and inward protest) includes violent outbursts (the cello

concerto theme) and a distorted version of the material from the trio section

of the Allegretto. Note the extended quotation the revolutionary song -

which has drawn much critical comment. The movement also contains

substantial quotations from other worksa collage of quotations.

Movement V

Largo

C minor

This, at last, provides a finalised version of the fugue and musical ideas from

movement I.

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