THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC DMITRI

THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
DMITRI SHOSTAKOVICH’S STRING QUARTET NO. 8 IN C MINOR, OP. 110:
A PERFORMER’S GUIDE
By
ASHLEE BOOTH
A Thesis submitted to the
College of Music
in partial fulfillment of the requirements for graduation with
Honors in the Major
Degrees Awarded:
Spring, 2016
The members of the Defense Committee approve the thesis of Ashlee Booth defended on March 25th,
2016.
Professor Greg Sauer
Thesis Director
Professor Corinne Stillwell
Committee Member
Dr. Evan A. Jones
Outside Committee
Member
INTRODUCTION
Soviet composer Dmitri Shostakovich was a champion of the string quartet in the 20th century, contributing
fifteen works to the repertoire. In contrast to his symphonies, which were composed surrounding
revolutionary events and received considerable public attention, his string quartets were often reflective of his
private life and were not as highly scrutinized by the Communist Party. Chronicling almost forty years of his
life, the string quartets of Shostakovich represent his most personal thoughts and display the broad spectrum
of human emotions. Dedicated “To the Victims of Fascism and War”, Shostakovich’s Eighth String Quartet
in C minor, Op. 110 is one of his most personal and celebrated works, full of familiar melodies from several
of his previous works and poignancy of emotional content. In the written literature, the quartet has been
widely argued in regards to its true meaning. Many explanations have been given; musicologists and theorists
alike have picked apart the work and tried to analyze the clues Shostakovich has left behind. Despite all of
this uncertainty, none can argue that the Eighth String Quartet is one of Shostakovich’s most deeply intimate
works, woven together with his musical monogram (DSCH) and the reappearance of melodies from his
previous compositions.
Much of the literature on the Eighth Quartet seeks to answer the question of what Shostakovich’s true
intention upon composition was: who was this work actually dedicated to, what did the saturation of motives
mean, and why did he react so strongly to hearing the finished product of this piece? It is likely that we will
never find what was truly going on in the mind of Shostakovich at the time of composition.
David Fanning, in his book, Shostakovich Studies, said, “All of the autobiographical and social aspects
examined so far may be vital to an understanding of where the music comes from; but if we want to know
where it goes to… then it is to the processes of artistic shaping that we have to turn.” This quote has
prompted me to investigate exactly what the artistic process of Shostakovich’s music entails. By analyzing
and synthesizing historical information, theoretical concepts, and pedagogical tools, this paper will seek to
answer the question about what the artistic process entails and translate it into a performance of the quartet.
PART I- HISTORICAL BACKGROUND
Dmitri Dmitriyevich Shostakovich was born on September 25th, 1906 in St. Petersburg, Russia to
Dmitri Boleslavovich and Sofya Vasilyevna. The Shostakovich household was one filled with music. Sofya,
his mother, was a pianist and his father, though not a professional musician had a pleasant tenor voice. Often,
his mother would accompany his father and her fellow classmates from the Conservatory in their household.1
Gatherings of musicians were often organized at the Shostakovich house and throughout the neighborhood.
At night, Dmitri Dmitriyevich would hear the music of Beethoven, Tchaikovsky, and many others.2 Young
Shostakovich’s formative years were surrounded by music, but despite this, he did not begin his musical
studies until 1915. His mother quickly realized that he had impeccable musical abilities. 3 A month after
beginning his studies, Dmitri’s mother brought him to Ignatiy Glyasser in hopes of enrolling him in
Glyasser’s school. Young Dmitri’s talents continued to gain him recognition in musical circles and in 1919,
he was admitted to the Petrograd Conservatory, headed by Alexander Glazunov. Glazunov closely monitored
Shostakovich’s progress at the school and often gave him opportunities to gain recognition. During his
studies at the Conservatory, Shostakovich was known for his unique voice and interpretation in performance
on the piano. He was incredibly studious, diligent, and driven, going above and beyond inside and out of the
classroom. Shostakovich’s first major success as a composer both personally and professionally came from
his First Symphony, which fulfilled the final requirement in his studies at the conservatory. Initially having
only thought that if he were lucky enough, he would be able to assemble a student ensemble to read the
work4, the stars seemed to align for Shostakovich in the spring of 1926. With backing from his superiors,
Shostakovich had his First Symphony premiered by the Leningrad Philharmonic under the direction of
1
Fay, Laurel. Shostakovich: A Life. New York: Oxford University Press, 2000, 8.
Fay, Laurel. Shostakovich: A Life. 8.
3 Fay, Laurel. Shostakovich: A Life. 9.
4 Fay, Laurel. Shostakovich: A Life. 8.
2
Nikolai Malko. For many reasons, this premiere was a momentous occasion for the young composer; not only
was a professional orchestra premiering the piece, but Shostakovich felt that his creative voice was being
heard and that his artistic decisions within the score were justified with how successful of a product had been
achieved5. Shostakovich’s teacher, Maximillian Steinberg, recalls “I found it hard to restrain him from an
unbridled display of his feelings”.6 Without a doubt, May 26th, 1926 was a day that Shostakovich would not
forget for the rest of his career.
After graduating from the Conservatory, Shostakovich composed two more symphonies. In June
1929, Shostakovich’s satirical opera, The Nose, premiered despite Shostakovich’s wishes. This opera
received harsh criticisms for its lack of Soviet musical idioms and artistic ideology. These criticisms were
reflective of an artistic ideology that would soon become prominent in Soviet music. In just a few short years,
the philosophy of Socialist Realism would have widespread use within Russian musical and art circles. The
underlying principles of Socialist Realism were that art should be accessible and comprehensible to the
masses.7 Socialist Realism sought to exploit proletarian ideals; art was to be presented in a way that revered
the common man and glorified everyday Soviet life. The Soviet life was highly idealized and made the
Soviet Union out to be an almost utopian state. Often, Socialist Realism rejected creativity in the attempts of
fulfilling political propaganda.8 This was incredibly detrimental to a composer like Shostakovich who was
incredibly proud of his unique voice as a composer. This philosophy was not made official until a decree
made in 1932, however, the characteristics had been in development since the early 1920s and the budding
insistence of its use was made manifest in the criticisms of Shostakovich’s opera. This decree highly
regulated the output art and music so that it was in line with Soviet ideals.
5
Fay, Laurel. Shostakovich: A Life. 32.
Ibid
7 Olkhovsky, Andrey Vasilyevich. Music Under the Soviets; The Agony of an Art. New York: Published
for the Research Program on the U.S.S.R. by F.A. Praeger, 1955.
8 Wilson, Elizabeth. Shostakovich: A Life Remembered. Princeton, N.J.: Princeton University Press, 1994.
6
In 1930 Shostakovich began to work on a new opera based on Nikolai Leskov’s story Lady Macbeth
of the Mtsensk District. Even in its early stages, Lady Macbeth was sure to be promising. The Malïy Theatre
first premiered the opera on January 22, 1934. Lady Macbeth exceeded all expectations and was regarded as a
“milestone in the history of Soviet music”.9 In the next two years, the opera continued to be incredibly
successful, accumulating enormous profit, being broadcasted on the radio, and enjoying a 92 percent
attendance rate. Once again, Shostakovich’s creative efforts were rendered fruitful.
However, on January 26, 1936, Shostakovich’s luck ran out. An anxious Shostakovich waited with
bated breath while Josef Stalin and other party officials, including Alexander Zhdanov, attended a
performance of the opera. It is said that Shostakovich could hear their laughs at the love scenes, and the party
eventually left before the third act. An article entitled “Muddle Instead of Music” was published in Pravda,
an official Soviet newspaper, two days later. Pravda was heavily consumed by citizens of the Soviet Union
and was often used to communicate political messages. The article criticized Lady Macbeth for its formalist
tendencies and formalism directly contradicted the philosophy of Socialist Realism. Inaccessible harmonic
language, extreme use of dissonance, and fragmented melodies10 were deemed as muddle, and for
Shostakovich, this yielded serious ramifications that began to unfold. Shostakovich’s opera was labeled as
“formalist” and many of his friends deserted him, in fear of being associated with him. 11
Along with the terrorizing article, 1936 marked the beginning of the “Great Purges”. Several million
people were arrested between the years 1936-1939 and countless others were executed. Many of
Shostakovich’s friends and family members disappeared or were arrested, and along with the Pravda article,
Shostakovich found himself in a difficult place. However, he was safe for the time being and eventually
9
Fay, Laurel. Shostakovich: A Life. 90.
Elizabeth. Shostakovich: A Life Remembered. Princeton, N.J.: Princeton University Press,
1994.
11 Wilson, Elizabeth. Shostakovich: A Life Remembered. Princeton, N.J.: Princeton University Press,
1994.
10 Wilson,
began working on his Fourth Symphony, which he said, “would embody the credo of his work”.12 With a
watchful eye from the Committee of Artistic affairs, Shostakovich was free to continue with his work,
although it would be subject to screening prior to being submitted. 13 The symphony shows a heavy influence
from Beethoven and Mahler and called for an incredibly large orchestra with a 40-person wind section. The
premiere was scheduled for December 11th, 1936, however after a foreboding visit from members of the
Union of Composers, Shostakovich announced that the premiere would be withdrawn. Rumors circulated
about Shostakovich’s reasoning for withdrawing his symphony, but he maintained a low profile, not going
public with any of his works until almost a year later on November 27, 1937 when his Fifth Symphony in D
minor was premiered by the Leningrad Philharmonic. It was apparent to everyone what a momentous
occasion this premiere signified, everyone was anxiously awaiting this premiere. The symphony was written
in a traditional symphonic style, program notes labeled it as a “spiritual battle crowned by victory”.14 And so,
surely was the victory. The crowd was in tears and the conductor waved the score above his head during the
ovations.
In the summer of 1941, the Soviet Union found itself unprepared for an attack by the German troops.
Leningrad was surrounded and occupied for the next year and a half. After completing three movements of
his Seventh Symphony, Shostakovich and his family were evacuated from Leningrad. On October 1st, his
family began their journey to Kuibyshev where they remained for a while. The premier of his Seventh
Symphony “Leningrad” sparked such fierce patriotism that Shostakovich’s fame reached a new level.
Shostakovich’s family, unable to return to Leningrad because of the destruction of the city, eventually
relocated to Moscow where he completed his Eighth Symphony. In 1944, Shostakovich’s dear friend, Ivan
Sollertinksy passed away. Sollertinsky was a musicologist and critic who introduced Shostakovich to Jewish
12
Fay, Laurel. Shostakovich: A Life. 90.
Fay, Laurel. Shostakovich: A Life. 92.
14 Wilson, Elizabeth. Shostakovich: A Life Remembered. Princeton, N.J.: Princeton University Press,
1994. 131-132.
13
folk music specifically Klezmer music, and undoubtedly had an influence on the music material within the
Piano Trio Op. 67, which Shostakovich dedicated to Sollertinsky after his death.
In the historic decree, aiming to “implement rigorous ideological uniformity in all cultural and
scientific institutions”15, viciously attacked the Soviet intelligentsia. Andrei Zhdanov was appointed by Stalin
to handle cultural matters in his stead. By doing so, Zhdanov issued a decree denouncing all writers, scientists,
and composers that proceeded with their work in the formalist vain. Many works were banned from public
consumption, including many works of Shostakovich’s including Lady Macbeth and the Eighth
Symphony. During a Committee Meeting of the Activists for Soviet Music, terrible attacks against
Shostakovich were logged in the minutes about the sounds of his music, mostly spoken by Zhdanov himself.
Shostakovich, usually resilient against vicious attacks, fell to pieces. 16 His wife, Nina, claimed he was on the
verge of suicide. After the decree, Shostakovich was dismissed from the Leningrad Conservatory.
Shostakovich suffered incredible financial hardship.
In March of 1953, Josef Stalin died and Shostakovich felt an extreme sense of relief. He began to
release works that had previously been held back.17 Specifically, the Tenth Symphony emerged from his
oeuvre. In the third movement of this symphony, the four-note musical monogram DSCH is used. Reception
of the work was incredibly controversial yet it yielded considerably popular results in the Soviet Union and
abroad.
Shostakovich’s wife, Nina, died in the summer of 1954 and shortly after, his own health began to
diminish. With frequent visits to the hospital, Shostakovich found himself having increased difficulty using
his right hand. For a composer and pianist, this left him incredibly bored and distraught. Progress was slow,
yet Shostakovich proceeded with work as usual. In the summer of 1960, Shostakovich found himself in
15 Wilson,
Elizabeth. Shostakovich: A Life Remembered. 159-160.
Shostakovich, Dmitriĭ Dmitrievich, and I. Glikman. Story of a friendship: the letters of Dmitry
Shostakovich to Isaak Glikman, 1941-1975.
17 Wilson, Elizabeth. Shostakovich: A Life Remembered.
16
extreme emotional distress. His friends Lev Lebedinsky and Isaak Glikman witnessed his emotional
breakdown over his convocation into the communist party.18 It was evident that Shostakovich loathed the
Communist Party, from his letters with Glikman. It has been documented briefly on several occasions, his
distaste for the Communist party, many times he said, “I will never join a party that endorses violence”.19 His
application to become a member was private from his friends and family, and caused him an extreme amount
of distress.
During a visit to Germany in July of 1960, Shostakovich was hired to write the score for a film
entitled Five Days Five Nights. The film was set in Dresden, after a devastating aerial bombing of the city,
which was left in ruins. Shostakovich found himself unable to complete the score and instead, completed his
Eighth String Quartet in frenzy. In just three days, the quartet was completed. Shostakovich wrote to his
friend Glikman that “I started thinking one day if I die, nobody is likely to write a work in memory of me…
you could even dedicate it “to the memory of the composer”.20 An outward expression of his inner most
feelings, Shostakovich could not listen to the quartet without weeping. Once during rehearsal Beethoven
quartet recalled that upon their rehearsal the composer buried his face in his hands, the quartet quietly packed
up their instruments and stole from the room.21
Shostakovich, Dmitriĭ Dmitrievich, and I. Glikman. Story of a friendship: the letters of Dmitry
Shostakovich to Isaak Glikman, 1941-1975.
19 Ibid, 92
20 Shostakovich, Dmitriĭ Dmitrievich, and I. Glikman. Story of a friendship: the letters of Dmitry
Shostakovich to Isaak Glikman, 1941-1975. 90-91.
21 Borodin Quartet. Shostakovich String Quartet No. 8. London Records, 1962. Vinyl recording. Notes:
Erik Smith.
18
ANALYSIS
Within the genre of the string quartet, Dmitri Shostakovich’s contribution is akin to that of
musical giants such as Beethoven and Haydn. He completed fifteen quartets in a span of 30 years but they
were not composed with any historical events in mind as many of his symphonies did (First of May,
Leningrad, etc). Beginning with the String Quartet No. 7, Dmitri Shostakovich’s String Quartet No.8 in C
minor is one of his experiments in a cyclical form encompassing an entire work. All five movements are
labeled attacca and are connected by a four-note motive, Shostakovich’s musical monogram DSCH
(Example 1.1). At its original pitch level, the DSCH monogram helps to establish the C minor tonality of
the first movement; the half-step relationship between C and B natural resemble a leading tone to tonic
relationship.22 This monogram is integrated and transformed in all movements of the work, save for the
fourth. Almost all of the musical material of the quartet is composed around the monogram, giving the
work a sense of thematic unity.23 Along with the DSCH, Shostakovich relies heavily on quotations from
previous works as musical material. For this reason, many consider this work an autobiographical quartet.
In the first movement, the DSCH monogram is used as a subject in a fugal-like texture. The quartet
opens with a statement of the subject in the cello. Each successive entry is transposed, building off of
one another seamlessly almost like a chorale until measure 12 (Example 1.1) where the violins and
cello have a unison statement of the DSCH motive.
In what is prepared to be the first cadence of the piece, the viola, still holding onto the previous
pitch, interrupts this cadence and moves the music into a new section. The opening of the First Symphony
is quoted here (Example 1.2). It is likely that Shostakovich incorporated this work, as it was his first
22
Reichardt, Sarah Jane. Composing the Modern Subject: Four String Quartets by Dmitri Shostakovich.
92.
23 Graybill, Roger, “Formal and Expressive Intensification in Shostakovich’s String Quartet No. 8” in
Stein, Deborah J. Engaging Music: Essays in Music Analysis. New York: Oxford University Press, 2005.
191- 195.
major success, feeling that his unique voice and creative decisions were justified in the large success of its
premiere The movement finally reaches a cadence that firmly establishes the C minor tonality in measure
27 (Example 1.3). A new section begins with the lower three voices holding a drone spread across three
octaves. Floating atop this drone is the violin I with an eerie and winding melody that uses all 12 pitches
of a chromatic scale. (Example 1.4). This type of texture is used heavily throughout this work and adds
an introspective and contemplative effect. Despite the distinct thematic sections marked by cadences, the
movement never attains closure, as measure 126 contains an A-flat respelled as a G-sharp, which prepares
us for the upcoming G-sharp minor tonality and propels us into the frantic dance of the second movement
(Example 1.5).
The second movement is a frenzied dance, the accompanying voices making it into a moto
perpetuo, and the DSCH motto does not appear until measure 62. Here, it is transformed into a motoric
accompanying figure (Example 2.1). In this movement two themes from the Piano Trio No. 2 in E minor
are used as melodic material (Example 2.2). This work was dedicated to Shostakovich’s friend Ivan
Sollertinsky, a musicologist who introduced him to Jewish Klezmer themes.
The commotion of the second movement comes to a brief halt, the violin trills, and the music
violently plunges into a grotesque waltz. The DSCH motto is used here as a melodic dance-figure in a
ghoulish waltz akin to a dance macabre. A dance macabre is typically set in a scherzo with a quick triple
meter; this technique is evident in many of Mahler’s scherzos24. Fast-paced and unsteady, this particular
waltz incorporates a large amount of rhythmic displacement. The accompanying voices maintain the
traditional waltz rhythmic guise while the first violin has an incredibly large amount of rhythmic
unsteadiness. Instead of the emphasis occurring on beat 1, the first violin melody has an emphasis coming
24
Sheinberg, Esti. Irony, Satire, Parody, and the Grotesque in the Music of Shostakovich: A Theory of
Musical Incongruities. Aldershot, England: Ashgate, 2000.
off of beat two and incorporates polyrhythms and metric modulation (Example 3.1). This creates a
significant amount of rhythmic unsteadiness. The Cello Concerto in E-flat Major is quoted in the middle
of this movement (Example 3.2). The opening material is repeated making the form into an A B A1
because of the use of mutes
Contrasting with all of the other movements, the fourth movement is entirely absent of the DSCH
motive. Instead this movement is in a rounded binary form. The “A” sections are distinctly marked by the
three-note knocking motive that some say represent the KGB knocking on Shostakovich’s door. This
theory, along with several others such as the bombs falling in Dresden, has never been confirmed.
However, the three notes have a violent and persistent feel to them. In the “B” section at measure 75,
Shostakovich uses melodic material from the Soviet revolutionary song, “Tormented by Harsh Captivity”
(Example 4.1) followed by a duet between the violins atop a C-sharp drone in the viola and cello. Next,
there is a quotation from Shostakovich’s famous opera Lady Macbeth. The quote comes from Scene 4 Act
9 where Katerina Izmailova sings an aria entitled, “Seryozha, my love” just before she flings Seryozha’s
new lover and herself into an icy river. The upper three voices are in close alternating harmonies while the
cello sings the aria (Example 4.2). There is a brief return to the A material in measure 161 before the first
violin states the DSCH motive, leading us into the fifth movement.
The final movement is void of any quotations and is a purely emotional climax. The fugue-like
texture from the first movement is developed further, introducing a new motive that provides counterpoint
and eventual closure to the work (Example 5.1). After one last chorale based on the DSCH monogram,
the piece finishes on an open fifth.
INTERPRETATION
As David Fanning said, “… it is to the artistic process of shaping that we must now turn”.
With the historical and analytical information gathered, there is now a clearer picture of the shape
Shostakovich intended for his work. Now, turning to pedagogical considerations, the performer will
have the tools necessary to prepare a performance of the work. The score gives all of the answers and
now the performer must take these directions and mold it into a shape of their own. Before addressing
the music, it is incredibly important to establish ensemble. Athol Page discusses that before
musical style of a specific composer can be developed, a quartet style must be.25
Discrepancies in individual habits such as interval sizes, sound concepts, use of vibrato and even
differences in instruments can become evident immediately and can detract from a uniform ensemble
sound. Often, professional quartets will purchase a matched set of instruments to alleviate a large
portion of these issues. While this is not always possible, there is always a solution. One such
pedagogical approach to establishing ensemble is by playing chorales and scales as a quartet. Each
time, a different member will lead different aspects of the music such as vibrato, quality of sound,
moving as a unit, and dynamics.
After a homogenous ensemble sound is in the works, special attention to the score is necessary.
Shostakovich was incredibly precise about detail and was keen to mark details such as articulations and
dynamics in his score. There are numerous places within the score where cutoffs are carefully marked to
achieve a certain affect, like a sudden breath. Abiding by these markings strictly will allow the full
emotional effect of the scoring to be impactful. As well, textural details must be considered when making
25
Herter Norton, M. D. String Quartet Playing; A New Treatise on Chamber Music, Its Technic and
Interpretation. New York, NY: C. Fischer, 1925. 10- 13.
coloristic decisions such as voicing, fingerings, and vibrato. This section will key in on several important
aspects of each movement and considerations the ensemble should make when preparing a performance.
The first, fourth, and fifth movements all contain slow moving and open harmonies similar to a
chorale. From the opening of the first movement to the extensive use of drones juxtaposed against a
melody give an icy, distant, and eerie quality, almost like the vast and open landscapes of Russia. The
performers should pay special attention to the type of bow stroke they use. For example, in the sections
where a drone is used (Example 1.4), the accompanying voices may want to use a delicate stroke with
minimal pressure and sul tasto so that their presence in the texture is felt rather than explicitly heard. The
melodic voices may want to use the same stroke but closer to the bridge where there are more high
overtones achieving in order to achieve a successful contrast between voices. Approaching the attack and
release of a stroke the way a singer would (vowels and consonances) can help too. These same
techniques can be applied where the quotation from Lady Macbeth occurs in the cello. The upper three
voices are close in register and change harmonies every two bars; this should create a glassy chorale
texture for the cello to sing over (Example 4.2).
The second movement’s frantic and frenzied character requires sharp articulations and electric
vibrato to keep the spirit. It is especially important to match lengths of notes, as the movement is almost a
“moto perpetuo”. Short compact bow strokes very close to the string will allow the ensemble to achieve
the gritty and intense emotional effect without slowing down the persistent motion. Articulations in the
third movement are precisely marked. Extensive use of chromaticism gives a ghoulish character.
Differences in articulations also enhance the rhythmic unsteadiness and the macabre character of this
dance.
Throughout the quartet, Shostakovich’s harmonic vocabulary “relies heavily on the conflict
between dissonance and consonance”.26 Much of the emotional content comes from the occurrence and
release of tension harmonically. The ensemble can enhance this by bringing out these dissonances through
vibrato and choice of fingerings.
26
Rowland, Christopher. “Interpreting the String Quartets” in Shostakovich: The Man and his Music,
ed. Chirstopher Norris London, 13-45. England: Sawrence and Wishart Ltd. 23-24.
REFLECTION/CONCLUSION
Dmitri Shostakovich’s String Quartet No. 8 in C minor Op. 110 is a landmark in the
string quartet’s repertoire. Since it’s premiere in 1960, it has been one of the most widely programmed
pieces of chamber music. With its incredible depth of emotion, the quartet follows the composer’s life
through chronological use of quotations and his musical monogram. When I began this project, I was
inspired by the quote by David Fanning, “All of the autobiographical and social aspects examined so far
may be vital to an understanding of where the music comes from; but if we want to know where it goes
to… then it is to the processes of artistic shaping that we have to turn.” And so that is what I turned to.
Through my research and the help of my advisors, I gained a greater insight into the never-ending process
of artistic shaping.
“An understanding of where the music comes from”; my preliminary research sought to divulge
where exactly this music comes from. Tracing the life of Dmitri Shostakovich from the beginnings of his
career all the way to the three days he spent in Germany in 1960, composing the quartet. Because of the
nature of the quartet, being autobiographical, it would have been amiss not to search for answers and try to
make the connections. Much of the melodic material in the quartet is recalled from previous works of the
composer, so as I traced the life of Shostakovich, my historical research examined events surrounding the
compositions that were quoted. Not only did I seek to know the story behind the quartet, but I also wanted
to know the piece from a different direction. My research into the analytic side of the quartet allowed the
quartet to develop a framework for the piece based on the form and compositional aspects. If there were
anything I would have liked to include more of, it would be a more in depth look at the compositional style
of the pieces Shostakovich referenced throughout the work. For example, I briefly touched on the subject
when analyzing the third movement and how the idiom of the grotesque influenced this scherzo. Going
forward, I would like to look more consistently at these characteristics of all of the quotations used
throughout the piece.
This research proved incredibly beneficial to the never-ending artistic process, or “where the music
goes”. When there was context for the musical material, we were able to assign meaning to the components of
the quartet. When we understood the components of the composition, we were able to attach abstract musical
meanings such as imagery and effect in tangible ways, which were the interpretive decisions. We were able to
base technique on the music. From there, the rehearsal process became more about how we could tell a story
using the knowledge we had gained.
It is no wonder why this work by Shostakovich is one of his most beloved pieces. It is true that we
may never know the exact meaning behind the composition. However, this glance into the world of artistic
shaping can help the performer breathe new life into it, each time it is performed.
EXAMPLES
Example 1.1- DSCH monogram
Example 1.2- First Symphony quotation
Example 1.2 continued
Example 1.3- measure 27, first cadence
Example 1.4- measure 29
Example 1.5- measure 126
Example 2.1 DSCH at measure 62
Example 2.2- Piano Trio No. 2 themes
Example 3.1- metric instability
Example 3.2- Cello Concerto quotation
Example 4.1- Tormented by Harsh Captivity quotation
Example 4.2- Lady Macbeth quotation
Example 4.2 continued
Example 5.1- Countersubject material
BIBLIOGRAPHY
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York City, N.Y: Knopf, 1986.
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and 11.” March 25, 2013. https://www.youtube.com/watch?v=9tZ28pM14oY
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dissertation, Yale University, 2008. 215 pages.
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Fanning, David. Shostakovich Studies. Cambridge, England: Cambridge University Press, 1995.
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Graybill, Roger, “Formal and Expressive Intensification in Shostakovich’s String Quartet No. 8” in Stein,
Deborah J. Engaging Music: Essays in Music Analysis. New York: Oxford University Press, 2005.
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Interpretation. New York, NY: C. Fischer, 1925.
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