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2010 Dmitri Shostakovich's String Quartet No. 3 in F Major, Op. 73: A Performer's Analysis Rang Hee Kim

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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

DMITRI SHOSTAKOVICH‘S STRING QUARTET NO. 3 IN F MAJOR, OP. 73:

A PERFORMER‘S ANALYSIS

RANG HEE KIM

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Summer Semester, 2010

The members of the committee approve the treatise of Rang Hee Kim defended on July 1, 2010.

______Pamela Ryan Professor Directing Treatise

______Evan Jones University Representative

______Eliot Chapo Committee Member

______Alexander Jiménez Committee Member

The Graduate School has verified and approved the above-named committee members.

This treatise is dedicated to the memory of my teacher, Beth Newdome, whose strength of will has been a tremendous inspiration.

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ACKNOWLEDGEMENTS

I would like express my profound gratitude and thanks to Dr. Pamela Ryan for her support and guidance in the completion of my treatise. Many thanks to my committee members, Dr. Evan Jones, Professor Eliot Chapo and Dr. Alexander Jiménez, for their time, advice and support. I am also deeply indebted to Katie Geeseman for her time and tireless work in editing my paper, and my oldest and dearest friend, Jayoung Kim for her emotional support, encouragement, and friendship. Finally, I am tremendously grateful to my parents for their endless love and continuous encouragement throughout every moment of my life.

TABLE OF CONTENTS

LIST OF TABLES ...... vi LIST OF MUSICAL EXAMPLES ...... vii ABSTRACT …...... x INTRODUCTION...... 1 1. DMITRI SHOSTAKOVICH ...... 2 A Brief Biography of Shostakovich ...... 2 Shostakovich‘s String Quartets ...... 4 2. A HISTORY OF STRING QUARTET NO. 3 IN F MAJOR, OP. 73 ...... 11 Historical Background ...... 11 Subtitles and Influence of the War Symphonies ...... 15 3. ANALYTICAL OVERVIEW OF STRING QUARTET NO. 3 IN F MAJOR, OP. 73 ....18 First Movement ...... 18 Second Movement ...... 26 Third Movement ...... 31 Fourth Movement...... 40 Fifth Movement ...... 48 4. A COMPARISON OF THREE ENSEMBLES’ INTERPRETATIONS ...... 59 Historical Background of the Three Ensembles ...... 59 Comparison ...... 62 First Movement ...... 62 Second Movement ...... 66 Third Movement ...... 68 Fourth Movement...... 70 Fifth Movement ...... 73 CONCLUSION ...... 76 BIBLIOGRAPHY ...... 78 BIOGRAPHICAL SKETCH ...... 82

LIST OF TABLES

TABLE 1 Shostakovich‘s Fifteen String Quartets ...... 7

TABLE 2 Comparison of the Eighth Symphony, Ninth Symphony, and the Third Quartet ...... 17

TABLE 3 First Movement: Overview ...... 18

TABLE 4 Second Movement: Overview ...... 26

TABLE 5 Third Movement: Overview ...... 31

TABLE 6 Fourth Movement: Overview ...... 40

TABLE 7 Fourth Movement: Other Thematic Materials ...... 40

TABLE 8 Fifth Movement: Overview ...... 49

TABLE 9 Comparison of the Tempo, First Movement ...... 62

TABLE 10 Comparison of the Tempo, Second Movement ...... 66

TABLE 11 Comparison of the Tempo, Third Movement ...... 68

TABLE 12 Comparison of the Tempo, Fourth Movement ...... 70

TABLE 13 Comparison of the Tempo, Fifth Movement ...... 73

LIST OF MUSICAL EXAMPLES

Example 1.1 Third Quartet: movement 1, mm. 1-10 ...... 19

Example 1.2 Third Quartet: movement 1, mm. 1, 8-10 ...... 19

Example 1.3 Fourth Quartet: movement 3, mm. 1-5 ...... 20

Example 1.4 Seventh Quartet: movement 1, mm. 5-10 ...... 20

Example 1.5 Third Quartet: movement 1, mm. 54-65 ...... 21

Example 1.6 Third Quartet: movement 1, mm. 54-55, 56-57 ...... 21

Example 1.7 Third Quartet: movement 1, mm. 1-10, 54-57 ...... 22

Example 1.8 Third Quartet: movement 1, mm. 1-2, 81 ...... 22

Example 1.9 Third Quartet: movement 1, mm. 81-87 ...... 22

Example 1.10 Third Quartet: movement 1, mm. 107-126 ...... 23

Example 1.11 Third Quartet: movement 1, mm. 169-185 ...... 24

Example 1.12 Third Quartet: movement 1, mm. 251-end ...... 25

Example 2.1 Third Quartet: movement 2, mm. 1-14 ...... 27

Example 2.2 Third Quartet: movement 2, mm. 1-3, Eighth Symphony: movement 3, mm.1-3 ...27

Example 2.3 Third Quartet: movement 2, mm. 30-41 ...... 28

Example 2.4 Third Quartet: movement 2, mm. 60-64 ...... 28

Example 2.5 Third Quartet: movement 2, mm. 70-76 ...... 29

Example 2.6 Third Quartet: movement 2, mm. 179-end ...... 30

Example 3.1 Third Quartet: movement 3, mm. 1-3, Eighth Quartet: movement 2, mm. 1-3, Tenth Symphony: movement 2, mm. 1-3 ...... 32

Example 3.2 Third Quartet: movement 3, mm. 1-12 ...... 34

Example 3.3 Third Quartet: movement 3, mm. 40-48 ...... 34

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Example 3.4 Fourth Quartet: movement 4, mm. 27-32 ...... 34

Example 3.5 Third Quartet: movement 3, mm. 54-63 ...... 35

Example 3.6 Third Quartet: movement 3, mm. 64-69 ...... 36

Example 3.7 Third Quartet: movement 3, mm. 83-95 ...... 36

Example 3.8 Third Quartet: movement 3, mm. 96-108 ...... 37

Example 3.9 Third Quartet: movement 3, mm. 152-162 ...... 38

Example 3.10 Third Quartet: movement 3, mm. 218-end ...... 39

Example 4.1 Third Quartet: movement 4, mm. 1-3, Eighth Symphony: movement 4, mm. 1-5, Eleventh Quartet: movement 6, mm. 1-4 ...... 41

Example 4.2 Third Quartet: movement 4, mm. 1-24 ...... 42

Example 4.3 Second Quartet: movement 4, mm. 1-14, Ninth Symphony: movement 4, mm.1-11 ...... 43

Example 4.4 Third Quartet: movement 4, mm. 35-42 ...... 45

Example 4.5 Third Quartet: movement 4, mm. 46-60 ...... 46

Example 4.6 Third Quartet: movement 4, mm. 67-end ...... 47

Example 5.1 Third Quartet: movement 5, mm. 1-14 ...... 50

Example 5.2 Third Quartet: movement 5, mm. 1-3, movement 1, mm. 63-65 ...... 50

Example 5.3 Third Quartet: movement 5, mm. 32-36 ...... 51

Example 5.4 Third Quartet: movement 5, mm. 69-83 ...... 51

Example 5.5 Third Quartet: movement 1, mm. 1-4 ...... 52

Example 5.6 Third Quartet: movement 3, mm. 128-130 ...... 53

Example 5.7 Third Quartet: movement 5, mm. 139-142 ...... 53

Example 5.8 Third Quartet: movement 5, mm. 176-179 ...... 54

Example 5.9 Third Quartet: movement 5, mm. 176-177, movement 1, mm. 54-55 ...... 54

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Example 5.10 Third Quartet: movement 5, mm. 177-179, movement 4, mm. 39-40 ...... 54

Example 5.11 Third Quartet: movement 5, mm. 245-259 ...... 55

Example 5.12 Third Quartet: movement 5, mm. 269-297 ...... 56

Example 5.13 Third Quartet: movement 5, mm. 352-end ...... 58

Example 6.1 Third Quartet: movement 1, mm. 1-4 ...... 63

Example 6.2 Third Quartet: movement 1, mm. 42-46 ...... 64

Example 6.3 Third Quartet: movement 1, mm. 54-58 ...... 65

Example 6.4 Third Quartet: movement 1, mm. 169-172, 152-end ...... 65

Example 7.1 Third Quartet: movement 2, mm. 70-75 ...... 67

Example 7.2 Third Quartet: movement 2, mm. 1-4 ...... 68

Example 7.3 Third Quartet: movement 2, mm. 12-14 ...... 68

Example 8.1 Third Quartet: movement 3, mm. 13-24 ...... 69

Example 8.2 Third Quartet: movement 3, mm. 152-162 ...... 70

Example 9.1 Third Quartet: movement 4, mm. 1-5 ...... 71

Example 9.2 Third Quartet: movement 4, mm. 16-28 ...... 72

Example 10.1 Third Quartet: movement 5, mm. 136-142 ...... 73

Example 10.2 Third Quartet: movement 5, mm. 242-247 ...... 74

Example 10.3 Third Quartet: movement 5, mm. 352-end ...... 75

ABSTRACT

Shostakovich wrote his String Quartet No. 3 in F Major, Op.73 in 1946 at the age of forty, right after the Second World War and not long after the completion of his Ninth Symphony. The Third Quartet is a large, symphonic work and is known as one of the compositions with which Shostakovich was the most pleased. It not only shows Shostakovich‘s absolute mastery as a chamber music composer skillfully deploying the string quartet to convey his entirely distinctive musical personality, but also shows many of his compositional characteristics. This treatise will provide a historical background and the influences on the Third Quartet, along with a brief biography of the composer and information on his string quartets. In addition, the quartet will be analyzed using traditional descriptive procedures providing insights into possible interpretive strategies based on a comparison of selected recordings by three notable string quartet ensembles.

INTRODUCTION

Dmitri Shostakovich (1906-1975) is one of the most well known and prolific composers of the twentieth century. He is known primarily for his fifteen symphonies, though he also composed operas, ballets, instrumental concertos, numerous choral and solo vocal works, many film scores, and a significant amount of chamber music. Shostakovich lived during an unstable period in Soviet Russia and endured the Russian Revolution, the Civil War, and the horrors of the Second World War. Vladimir Ovcharek, the first violinist of Leningrad‘s Taneyev Quartet, observed that the composer‘s music ―reflected his pain.‖1 This pain as well as Shostakovich‘s sarcastic and abrasive humor is reflected in his string quartets. The String Quartet No.3 in F Major, Op.73 contains so many of Shostakovich‘s ―fingerprints,‖ that it must be considered one of the most characteristic of all his middle-period compositions.2 This treatise will provide a discussion and analysis of Shostakovich‘s String Quartet No.3, in F Major, Op.73 from a performer‘s perspective. After presenting a brief summary of the composer‘s biography along with historical information concerning his string quartets, I will provide historical background of the Third Quartet, as well as an analytical overview of its form, thematic and motivic construction, harmonic and melodic language, and compositional techniques. Also, a comparison of selected recordings by three string quartet ensembles will be discussed in order to examine the actual performance practice of the Third Quartet. I intend to address the String Quartet No.3 in F Major, Op.73 from a historical, analytical and performance perspective in the hopes that prospective performers of this work will gain a variety of valuable performative insights.

1 Harlow Robinson, program note to Dmitri Shostakovich, The Complete String Quartets, Vol.1, The Manhattan String Quartet, ESS.A.Y.Recordings, CD, 1990. 2 Alan George, program note to Shostakovich, The String Quartets, Fitzwilliam String Quartet, Decca Record Company, CD, 1977-1978.

CHAPTER 1

DMITRI SHOSTAKOVICH

A Brief Biography of Shostakovich

Born in Saint Petersburg, Russia, in 1906, Dmitri Shostakovich took his first piano lessons from his mother when he was nine years old. He then entered the Petrograd Conservatory in 1919 where he studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. Alexander Glazunov, who was the conservatory director, also played a role in Shostakovich‘s musical development because he often encouraged and helped the young Dmitri during times of financial distress. Shostakovich completed his course of study in piano at the conservatory in 1923 and one in composition in 1925. His graduation piece, Symphony No.1 in F Minor, Op.10, was critically acclaimed in Leningrad at the premiere on May 12, 1926. In spite of the symphony‘s reliance on such models as Prokofiev, Stravinsky, Tchaikovsky, and Mahler, each movement includes ―remarkable individual touches of distinctive originality.‖3 After the huge success of the First Symphony, Shostakovich completed Symphony No.2 in B Major, Op.14 ‗To October’, and No.3 in E flat Major, Op.20 ‗The First Day of May‘ in an attempt to reconcile himself to revolutionary socialism like many Soviet composers of his generation. Both of these symphonies contain choral finales to memorialize the revolution and served to establish his reputation as a composer. The Soviet authorities encouraged such music since it was considered generally acceptable, and painted the Soviets in a good light, but anything new, novel, or abstract was publicly criticized. Since Soviet State regarded him as a political composer who wanted to follow official policy, it criticized him more when his work was not suitable to their taste. His opera, Lady Macbeth of the Mtsensk District, was successful, confirming Shostakovich to be an essentially dramatic composer in both Europe and the USA, but the leading Soviet newspaper Pravda described it as cacophonous, pornographic, degenerate, and an insult to the people of the Soviet Republic.4 In 1937, after his censure by the Soviet

3 Nicolas Slonimsky, “Dmitri Dmitrievitch Shostakovich; With Scores and Lists of Works,” Musical Quarterly, Vol. 28, No.4 (1942): 42. 4 Ian MacDonald, The New Shostakovich (London: Fourth Estate, 1990), 103.

authority, Shostakovich wrote his Symphony No.5 in D Minor, Op.4. Due to the brilliance of the work, he was able to retrieve his honor and the work has since become one of the most popular orchestra compositions throughout the world. Shostakovich continued to receive favorable recognition in the following years. He was awarded the Stalin prize in 1941, 1942, 1946, 1948, 1949, 1950, and 1952, People‘s Artist of the USSR in 1954, the Order of Lenin in 1946 and 1966, the Lenin Prize in 1956, and the Silver Insignia of Honor from the Austrian Republic in 1967. He was also the first musician to be awarded the title of, ―Hero of Socialist Labor‖ in 1966, the highest honor a Soviet citizen could receive.5 However, Shostakovich ―played a dangerous cat-and-mouse game with the Soviet state, his music sometimes apparently, even overtly, representing and supporting the state, but often satisfying state strictures on the surface, while at the same time hiding subtexts that went against the grain of that surface.‖6 Up until Stalin‘s death in 1953, Shostakovich composed music in a simpler and more accessible idiom, though he withheld some works written in a more complex style.7 In the year of Stalin‘s death, Shostakovich completed his Tenth Symphony which is one of his deeply personal works using the D-S-C-H motif.8 The symphony caused controversy in the Soviet Union because of its ―… formal complexity,‖ but was later regarded as a monument of

5 Paul Eugene Dyer, ―Cyclic Techniques in the String Quartets of Dmitri Shostakovich‖ (Ph.D. diss., Florida State University, 1977), 2. 6 Patrick McCreless, “The String Quartets of Dmitri Shostakovich,” in Intimate Voices: The Twentieth-Century String Quartet, Vol.2, ed. Evan Jones (Rochester, NY: University of Rochester Press, 2009), 3. 7 Shostakovich withdrew his Fourth Symphony after initial rehearsals because of its unorthodox structure, and it was not performed until 1961. Also in the late 1940s, he withheld a few potentially controversial works: Violin Concerto No.1 in A Minor Op.77, Song Cycle “From Jewish Folk Poetry” Op.79, and String Quartet No.4 in D Major Op.83. They premiered after Stalin‟s death. 8 DSCH is musical motif based on the initials of Shostakovich‟s name. It consists of D-E flat-C- B which is D-Es-C-H in German notation. Shostakovich used the motif in many of his works including Piano Trio No.2 in E Minor, Op. 67, Violin Concerto No.1 in A Minor, Op.77, Cello Concerto No.1 in E flat Major, Op.107, String Quartet No.8 in C Minor, Op.110, and Symphony No.15 in A Major, Op.141, “Shostakovich, Dmitry,” in The Oxford Dictionary of Music, 2nd ed. rev., ed. Michael Kennedy, Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 25, 2010).

symphonic achievement in his country and abroad.9 Shostakovich began to suffer from a serious heart problem in 1966 and as he aged, arthritis caused further complications. Even with his health issues, Shostakovich continued to compose and produced one of his finest works, Symphony No.14 in A Major, Op.135 in 1969. This symphony consists of eleven poems all concerned about death, scored for soprano and bass soloists, small string ensemble and percussion instruments. After completing his Fifteenth Symphony and later string quartets (Nos.13-15) in the early 1970s, he died of lung cancer on August 9, 1975 in Moscow.

Shostakovich’s String Quartets

In 1938, following the composition of his Fifth Symphony in 1937, Shostakovich composed his first string quartet at the age of 31. By the time Shostakovich turned his attention to the string quartet genre, his international reputation was well established not only by his first five symphonies, but also by the Ballet ―The Golden Age” Op.22, Twenty-four Preludes for Piano Op.34, Piano Concerto No.1 in C Minor Op.35, and two operas, The Nose and Lady Macbeth of the Mtsensk District. While a magnificent composer of large works, Shostakovich was not well known for chamber music composition prior to 1938. The first string quartet was preceded by only three chamber works. These were the Piano Trio No.1 in C Minor Op.8 (1923), Prelude and Scherzo for String Octet Op.11 (1925), and the Cello Sonata in D Minor Op.40 (1934). However, in 1937, after the premiere of his Fifth Symphony, Shostakovich stated his interest in writing chamber music:

I want some time to work in chamber and vocal music. And what is more, there is very little chamber music [in the Soviet Union]. Our composers barely study it. And I, moreover, from all of the time of my compositional work have written only one sonata for violoncello and piano. And this is what I want to do — and I absolutely will do it — to write for our performers a series of works of chamber music.10

9 Paul Griffiths, “Dmitri Shostakovich,” The Musical Times, Vol. 116, No. 1592 (October 1975): 903. 10 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 16.

Between 1936 and 1938, the worst years of the Great Terror, ―Shostakovich took up the string quartet genre precisely at a time when opera, with the specificity of its text and dramatic action, and even symphonic music, must have seemed too dangerous for him to attempt.‖11 In public statements, he described his first string quartet as casual, lacking in the pompous philosophical seriousness often related to chamber music.12 On the subject of his First Quartet Shostakovich wrote:

I began to write it without special ideas and feelings, I thought that nothing would come of it. After all the quartet is one of the most difficult musical genres. I wrote the first page as a sort of original exercise in the quartet form, not thinking about subsequently releasing and publishing it.13

Also soon after the premiere, Shostakovich said,

Don‘t expect to find special depth in this, my first quartet opus. In mood it is joyful, merry, lyrical. I would call it ‗spring-like.‘14

It was ironic to write a ‗joyful, merry‘ piece in the third year of the Great Terror, but the early reviews of the First Quartet were extensive and positive.15 Six years separate String Quartet No.2 in A Major, Op.68 from the First Quartet, but after the Second Quartet, Shostakovich returned on a regular basis to the string quartet genre until 1974, the year before his death, when the composer completed his fifteenth quartet. Shostakovich had continually composed the string quartet genre during tragic periods in his life and career, especially after two denunciations in 1936 and 1948 (String Quartet No.1 in C Major, Op.49 in 1938, String Quartet No.4 in D Major, Op.83 in 1949), after the loss of his first wife, Nina Varzar (String Quartet No.7 in F# Minor, Op.108 in 1959-60), after joining to the

11 Patrick McCreless, “The String Quartets of Dmitri Shostakovich,” in Intimate Voices: The Twentieth-Century String Quartet, Vol.2, ed. Evan Jones (Rochester, NY: University of Rochester Press, 2009), 4. 12 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 17. 13 Laurel Fay, Shostakovich: A Life (New York: Oxford University Press, 2000), 111-112. 14 Ibid., 112. 15 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 23.

Communist Party (String Quartet No.8 in C Minor, Op.110 in 1960), and during his illness in the final year of his life (String Quartet No.15 in E flat Minor, Op.144 in 1974).16 This shows that the string quartet was the most personal composition genre for Shostakovich. There are no quartets dedicated to surrounding revolutionary events, contrary to his symphonies. Instead, he dedicated his quartets to his intimate friends including members of the Beethoven Quartet.17 The members of the Beethoven String Quartet were life-long friends of Shostakovich and shared many informal chamber music soirées with the composer.18 Besides premiering Piano Trio No.2 in E Minor, Op.67, and Piano Quintet in G Minor, Op.5, the Beethoven Quartet premiered all of Shostakovich‘s string quartets except the first and the last. Small chamber concerts were infrequent, randomly scheduled and poorly attended in the Soviet Union. However, the Beethoven Quartet, a pioneering group that had been playing since the early 1920s, helped to build an audience for chamber music in Moscow along with one other string quartet, the Komitas Quartet.19 Shostakovich started to compose string quartets comparatively late in his career, and gathered momentum as he grew older. As Patrick McCreless has observed, ―We might see Shostakovich‘s taking up of the string quartet in 1938 as a retreat out of the public eye into a more private genre… as he got older, Shostakovich turned more and more to the quartet as the vehicle of his most original, most musically challenging ideas.‖20 Also, in Musical Times, Niall O‘Loughlin states, ―The string quartet medium gave Shostakovich an opportunity to develop his skills in a much more refined and undemonstrative way in complete contrast to the ‗public‘

16 Jada Watson, “Aspects of the „Jewish‟ Folk Idiom in Dmitri Shostakovich‟s String Quartet No.4, Op.83” (M.A.thesis, University of Ottawa, 2008), 29. 17 Dmitri Tsyganov (first violin), Vassily Shrinsky (second violin), Vadim Borisovsky (viola), and Sergei Shirinsky (cello). 18 Christopher Rowland, “Interpreting the String Quartets” in Shostakovich: The Man and his Music, ed. Chirstopher Norris (London: Sawrence and Wishart Ltd, 1982), 14. 19 The Quartet was established late in 1924 under the initiative of four Armenian students at the Moscow Conservatory: Avet Gabrielian (1st violin), Levon Ohanjanian (2nd violin), Mikhail Terian (viola), and Sergey Aslamazian (cello). 20 Patrick McCreless, “The String Quartets of Dmitri Shostakovich,” in Intimate Voices: The Twentieth-Century String Quartet, Vol.2, ed. Evan Jones (Rochester, NY: University of Rochester Press, 2009), 4.

display of the symphonies.‖21 Shostakovich was one of only a few Soviet composers of his generation to focus so enthusiastically on the string quartet genre, and his fifteen string quartets became a medium through which to express his creative, challenging ideas through the opposition of tradition and innovation. Shostakovich followed the tradition of his predecessors, but developed the genre‘s formal capabilities with the addition of movements, linking the movements together, and frequent thematic recurrence. Also, self-quotation became an important device for Shostakovich in order for him to convey his most intimate thoughts. Background information on his fifteen quartets is provided in Table 1. This information includes the titles of each quartet, their dates of composition, their duration, when and by whom the pieces were premiered, the movement titles, and a few other basic facts concerning the works.

TABLE 1 Shostakovich‘s Fifteen String Quartets Quartet/Date Key/Duration Dedication/Premiere Movements No.1, Op.4922 C Major None/ Moderato (1938) 14‘-16‘ Glazunov Quartet23 (1938) Moderato Allegro molto Allegro

No.2, Op.68 A Major Vissarion Shebalin Overture: Moderato con moto (1944) 32‘ (composer)/ Recitative and Romance: Beethoven Quartet (1944) Adagio Waltz: Allegro Theme and Variations: Moderato con moto

21 Niall O‟Loughlin, “Shostakovich‟s String Quartets,” The Musical Times, Vol.87 (September 1974): 744. 22 The First Quartet was originally entitled „springtime,‟ Derek Hulme, Dmitri Shostakovich, A Catalogue, Bibliography, and Discography (Oxford University Press, 1991), 84. 23 The Beethoven Quartet gave the later Moscow premiere, and this premiere began a long- lasting friendship between Shostakovich and the Beethoven Quartet.

TABLE 1 Continued Quartet/Date Key/Duration Dedication/Premiere Movements No.3, Op.73 F Major Beethoven Quartet/ Allegretto (1946) 30‘ Beethoven Quartet (1946) Moderato con moto Allegro non troppo Adagio (attacca) Moderato No.4, Op.83 D Major None/ Allegretto (1949) 22‘ Beethoven Quartet (1953) Andantino Allegretto (attacca) Allegretto No.5, Op.92 B-flat Major Beethoven Quartet Allegro non troppo (attacca) (1952) 30‘ (35th Anniversary)/ Andante (attacca) Beethoven Quartet (1953) Allegretto No.6, Op.101 G Major None/ Allegretto (1956) 25‘ Beethoven Quartet (1956) Moderato con moto Lento (attaca) Allegretto No.7, Op.108 F-sharp Minor To the memory of Nina Allegretto (attacca) (1960) 11‘-12‘ Vasilevna Shostakovich Lento (attacca) (first wife)/ Allegro Beethoven Quartet (1960) No.8, Op.11024 C Minor To the memory of victims Largo (attacca) (1960) 18‘-19‘ of fascism and war/ Allegro molto (attacca) Beethoven Quartet (1960) Allegretto (attacca) Largo (attacca) Largo

24 The Eighth Quartet is known as the „Dresden Quartet,‟ Dmitri Shostakovich, A Catalogue, Bibliography, and Discography (Oxford University Press, 1991), 140.

TABLE 1 Continued Quartet/Date Key/Duration Dedication/Premiere Movements No.9, Op.117 E-flat Major Irina Antonovna Moderato con moto (attacca) (1964) 26‘ Shostakovich (third wife)/ Adagio (attacca) Beethoven Quartet (1964) Allegretto (attacca) Adagio (attacca) Allegro No.10, Op.118 A-flat Major Moisei Vainberg Andante (1964) 22‘ (composer)/ Allegretto furioso Beethoven Quartet (1964) Adagio (attacca) Allegretto No.11, Op.122 F Minor Vasily Shirinsky Introduction: (1966) 15‘ (second violinist of Andantino (attacca) Beethoven Quartet)/ Scherzo: Allegretto (attacca) Beethoven Quartet (1966) Etude: Allegro (attacca) Humoresque: Allegro (attacca) Elegy: Adagio (attacca) Finale: Moderato No.12, Op.133 D-flat Major Dmitri Tsyganov Moderato (1968) 26‘ (first violinist of Allegretto Beethoven Quartet)/ Beethoven Quartet (1968)

No.13, Op.138 B-flat Minor Vadim Borisovsky Adagio-Doppio movimento- (1970) 18‘ (violist of Tempo primo Beethoven Quartet)/ Beethoven Quartet (1970)

TABLE 1 Continued Quartet/Date Key/Duration Dedication/Premiere Movements No.14, Op.142 F-sharp Major Sergei Shirinsky Allegretto (1973) 27‘ (cellist of Adagio (attacca) Beethoven Quartet)/ Allegretto Beethoven Quartet (1973)

No.15, Op.144 E-flat Minor None/ Elegy: Adagio (attacca) (1974) 37‘ Taneyev Quartet (1974) Serenade: Adagio (attacca) Intermezzo: Adagio (attacca) Nocturne: Adagio (attacca) Funeral March: Adagio (attacca) Epilogue: Adagio

CHAPTER 2

A HISTORY OF STRING QUARTET NO. 3 IN F MAJOR, OP. 73

Historical Background

The Second World War (1939-1945) was a period of relative freedom for Shostakovich and for the arts in general inside the Soviet Union. It was during these years that Shostakovich felt it was possible to ―compose tragic music on the pretext of referring to oppression from outside, as well as private, relatively complex music, in the knowledge that the authorities had other calls on their watchfulness.‖25 After the war, under the leadership of Andrey Alexandrovich Zhdanov who was the chairman of the Soviet Union, all the arts were placed under increasing ideological control. Artists were now, more than ever, supposed to follow the Party doctrine and produce ―truly Russian art.‖ This re-definition of the arts in the Soviet Union was a consequence of Stalin's increased obsession, international conflicts and the start of the Cold War.26 As Cold War tensions raised, the Soviet Union once again closed itself off from the rest of the world, compelling an absolute patriotism in its citizens.27 During the summer of 1945, after the fall of Berlin, Shostakovich wrote his Symphony No.9 in E flat Major, Op.70. Since it was scheduled to appear in the victory year of 1945, Soviet people expected a large-scale programmatic work for orchestra, soloists and chorus celebrating the Russian victory in the Second World War.28 However, Shostakovich did not write such a work. Instead his Ninth Symphony was written more in the style of chamber music. It is roughly 26 minutes long which is one of his shortest symphonies, with neither soloists nor chorus and is in ―a transparent, pellucid, and bright mood.‖ than expected.29

25 David Fanning and Laurel Fay, “Shostakovich, Dmitry,” in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 24, 2010). 26 Jada Watson, “Aspects of the „Jewish‟ Folk Idiom in Dmitri Shostakovich‟s String Quartet No.4, Op.83” (M.A.thesis, University of Ottawa, 2008), 30. 27 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 95. 28 David Fanning and Laurel Fay, “Shostakovich, Dmitry,” in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 24, 2010). 29 Laurel Fay, Shostakovich: A Life (New York: Oxford University Press, 2000), 147.

Shostakovich states:

They wanted a fanfare from me, an ode, they wanted me to write a majestic Ninth Symphony…. Everyone praised Stalin, and now I was supposed to join in this unholy affair. There was an appropriate excuse. We had ended the war victoriously; no matter the cost, the important thing was that we won, the empire had expanded. And they demanded that Shostakovich use quadruple winds, choir, and soloists to hail the leader. All the more because Stalin found the number auspicious: the Ninth Symphony…. I confess that I gave hope to the leader and teacher‘s dreams. I announced that I was writing an apotheosis. I was trying to get them off my back but it turned against me. When my Ninth was performed, Stalin was incensed. He was deeply offended, because there was no chorus, no soloists. And no apotheosis. There wasn‘t even a paltry dedication. It was just music, which Stalin didn‘t understand very well and which was of dubious content.… I couldn‘t write an apotheosis to Stalin, I simply couldn‘t. I knew what I was in for when I wrote the Ninth.30

Though Shostakovich knew he might well be denounced for the style in which he chose to write his Ninth Symphony, he was unable to write music purely to please Stalin. Instead, he chose to write the symphony as he wanted. There was an eight-year gap between the Ninth Symphony and the Tenth symphony. In the meantime he turned his attention to the concertos and string quartets. Shortly after the fiasco of his Ninth Symphony, Shostakovich began work on his String Quartet No.3 in F Major, Op.73. It was the only composition Shostakovich wrote in 1946. Shostakovich started working on the quartet on January 26th of 1946 and finished on August 2nd of 1946.31 The first three movements were composed in Moscow, the fourth in Leningrad, and the fifth in Komarovo, Gulf of Finland.32 Right after the quartet‘s completion, Shostakovich wrote a letter to Vasily Shirinsky, second violinist and manager of the Beethoven Quartet.

Dear Vasya, I have not seen you and your friends for a long time. How are you doing? And how is your Nina? After the conductors‘ showcase, I left for the dacha and Kellomyaki. Now we are all living there. It is

30 Dmitri Dmitrievich Shostakovich and Solomon Volkov, Testimony: The Memoirs of Dmitri Shostakovich (New York: Harper & Row, 1979), 140-141. 31 Shostakovich also arranged the Third Quartet for the two pianos in August 1946. 32 Derek Hulme, Dmitri Shostakovich, A Catalogue, Bibliography, and Discography (Oxford University Press, 1991), 183.

a superb place. The most valuable thing is the complete absence of flies, which always disturb summer relaxation. Here I have finished my new Quartet. It seems to me that I have never been as pleased with a composition as with this Quartet. Probably I am wrong, but that is exactly how I feel right now. In a few days, I will give it to the copyist. I will arrive in Moscow at the beginning of September. And then I would like to acquaint you with this opus. I ask that you and the remaining members of the Beethoven Quartet accept my dedication of this opus to you, for while working on it, I thought all the time about you and about the fine things you have done for me.33

On 21 August, Shostakovich wrote again:

Dear Vasya, Many thanks to you for your letter. It was a great joy for me. I am already anticipating the enormous delight from the first rehearsals, which I always experience when present at your work. I received the Quartet from the copyist. The parts and score have been copied. The copying of the parts is not bad. The copying is good and clear. I asked him to write a little bit larger. He did this. Having looked at the part of the first violin and viola, I clapped myself on the forehead and called myself an ass. During the third movement in the viola, there is not a single bar of rest. There is the same picture in the fifth for the first violin. The conscientious copyist attached the pages of the part in such a fashion that it is necessary to lay out four pages on the stand. I am afraid that it will be inconvenient, since I have not seen a stand wide enough to permit placement of four pages. I was pretty upset by this. The remaining parts are written out perfectly well, both for reading and for page-turns. I am pleased with my Quartet. I showed it off to Yu.V.Sviridov. He approves. One thing bothers me, that in the first movement, especially in the development, there are many difficult and uncomfortable passages for all instruments. All the other movements (and there are five of them: Allegretto, Moderato con moto, Allegro ma non troppo, Adagio and Moderato) are written pretty comfortably, it seems to me.34

The letter shows not only Shostakovich‘s strong affection for the quartet as one of his favorite works but also a genuine partnership between Shostakovich and the Beethoven Quartet. The Third Quartet was premiered by the Beethoven Quartet, its dedicatees, in Moscow Conservatory Malyi Hall on December 16th in 1946. The score was published in Music Fund of

33 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 97-98. 34 Ibid.

the USSR in 1947.35 The Beethoven Quartet once again performed the new quartet for the Stalin Prize Committee on March 29th in 1947, but did not get a prize.36 The Third Quartet was premiered in Leningrad on April 8th in 1947, four months after the Moscow premiere. This time, the work was performed by the Glazunov Quartet, the quartet that had premiered the composer‘s String Quartet No.1 in C Major, Op.49 and participated in the Leningrad premiere of Piano Quintet in G Minor, Op.57. The Borodin Quartet performed the Third Quartet in Leningrad on two additional occasions, in 1958 and 1959, before the Beethoven Quartet again chose to perform the work in 1962 as part of a performance of the complete Shostakovich quartet cycle. However, unlike the Second Quartet, the Piano Quintet, and the Second Piano Trio, the Third Quartet was not included the Beethoven Quartet‘s regular performance repertoire.37 Yet, Shostakovich remained proud of the work. He wrote to the young composer Edison Denisov, ―I consider the Third Quartet one of the most successful of my works. If you look it over, then remember that the first movement needs to be performed not too speedily, but gently.‖38 In a rehearsal in which the Beethoven Quartet played the Third Quartet for Shostakovich, Fyodor Druzhinin, violist of the Beethoven Quartet after 1964, recalled that ―it was the only once they see Shostakovich visibly moved by his own music.‖ The players expected frequent interruptions from the composer. However, the Beethoven Quartet played all five movements of the quartet straight through. According to Druzhinin, during playing the final chord, ensemble members found the composer, ―… quite still in silence like a wounded bird, tears streaming down his face. This was the only time I saw Shostakovich so open and defenceless.‖39

35 Derek Hulme, Dmitri Shostakovich, A Catalogue, Bibliography, and Discography (Oxford University Press, 1991), 183. 36 Shostakovich gained the Stalin Prize twice for his chamber music, the Piano Quintet in 1941 and the Second Piano Trio in 1946, Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 97-98. 37 Ibid. 38 Letter to Edison Denisov, 22 April 1950, quoted in Yury Kholopov and Valeria Tsenova, Edison Denisov, trans. Romela Kohanovskaya (Switzerland: Harwood, 1995), 171. 39 Elizabeth Wilson, Shostakovich: A Life Remembered (Princeton, New Jersey: Princeton University Press, 1995), 442.

Subtitles and Influence of the War Symphonies

The Third Quartet originally had programmatic titles for each of the five movements.40 These titles trace the history of the Second World War, and characterize the quartet as a reflection of Shostakovich‘s view concerning the war. The subtitles also serve to vividly show the essential nature of the music. However, Shostakovich retracted the titles for unknown reasons immediately after the premiere by the Beethoven String Quartet in 1946. The movement titles, with the program descriptions are:

● Allegretto: ‗Calm unawareness of future cataclysm‘ ● Moderato con moto: ‗Rumblings of unrest and anticipation‘ ● Allegro non troppo: ‗The forces of war unleashed‘ ● Adagio: ‗Homage to the dead‘ ● Moderato: ‗The eternal question- Why? And for what?‘41

These subtitles do not appear on the autograph manuscript or any published score, but Valentin Berlinsky, the cellist of Borodin Quartet, provided the meaning of the subtitles in an interview with Judith Kuhn:

Dmitri Shostakovich one day, as we were simply sitting, well, and also drinking a little vodka, said that there was no programme for this Quartet, but his idea was that the first movement depicted peaceful Soviet life. Nothing was occurring and everything was calm. The second movement- it is the beginning of the Second World War, although not yet in Russia; still outside the country, in Poland, Czechoslovakia [sings first violin theme from bar 3 of the second movement]. The third movement- it is the tank armada invasion of Russian territory. The fourth movement is a requiem for the dead, and the fifth movement is a philosophical reflection on the fate of man.42

40 David Fanning and Laurel Fay, "Shostakovich, Dmitry," in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com. (accessed May 25, 2010). 41 Derek Hulme. Dmitri Shostakovich, A Catalogue, Bibliography, and Discography (Oxford University Press, 1991), 182. 42 Judith Kuhn, ―The string quartets: in dialogue with form and tradition,‖ in The Cambridge Companion to Shostakovich, ed. Pauline Fairclough and David Fanning (Cambridge University Press, 2008), 42.

Judith Kuhn states that one possibility that Shostakovich retracted his programmatic ideas is, ―he may have considered subtitles and programmes too limiting. Shostakovich may not have wanted to chain them to their immediate historical context, but instead hoped to allow the music to be heard also as an examination of broader human questions and experiences.‖43 The other possibility is that Shostakovich might have been worried about the harsh criticism the subtitles would receive. Since the string quartet genre held an ambiguous place in Soviet music society, and the Union of Soviet Composers discouraged composition in the genre, he may not have wanted to cause any social or public judgments with the controversial programmatic subtitles. Yet another level of intricacy to the Third Quartet is the apparent relationship to the two of the war symphonies (Nos.8 and 9). The quartet was composed immediately after the Second World War, not long after the completion of the highly controversial Ninth Symphony, and three years after the Eighth Symphony. The Third Quartet is not only intimate chamber music that he was obviously emotionally involved with but also a large-scale symphonic work in five movements.44 It has many similarities with the two war symphonies. Each work is in five movements rather than the usual four as shown in Table 2. The arrangement of the five movements in the Third Quartet is almost exactly the same as that of the Eighth Symphony: a sonata movement, two scherzos, a slow passacaglia, and a modified sonata rondo finale. However, from a stylistic point of view, there is a stronger influence from the Ninth Symphony. The first movements of the Ninth Symphony and the Third Quartet both begin with a cheerful, delightful first violin melody with simple rhythmic accompaniment in the other strings, and both have ―a neo-classical sense of style.‖45 More details will be discussed in the later chapters.

43 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 106. 44 Also the Twelfth Quartet is considered to be a symphonic quartet on a heroic scale. 45 Michael Mishra, A Shostakovich Companion (Westport Conn: Praeger, 2008), 168.

TABLE 2 Comparison of the Eighth Symphony, Ninth Symphony, and the Third Quartet

Eighth Symphony Ninth Symphony Third Quartet (1943) (1945) (1946) Adagio – Allegro: Allegretto: Movement 1 Allegro non troppo: Sonata, E flat major Sonata, F major Sonata, C minor

Allegretto: Moderato: Moderato con moto: Movement 2 Scherzo, D flat major Rondo, B minor Scherzo, E minor

Allegro non troppo Allegro non troppo: Presto (attacca): Movement 3 (attacca): Scherzo, Scherzo, G major Scherzo, E minor G sharp minor Adagio (attacca): Largo (attacca): Largo (attacca): Movement 4 Passacaglia, Passacaglia, G-sharp minor Binary, B flat minor C sharp minor

Allegretto: Allegretto-Allegro: Allegretto: Movement 5 Sonata, C major Sonata, E flat major Sonata, F major

CHAPTER 3

ANALYTICAL OVERVIEW OF STRING QUARTET NO.3 IN F MAJOR, OP.73

First Movement

The first movement, Allegretto, is in modified sonata form with a repeated exposition built from two distinctive, contrasting themes, a fugal development, and a short recapitulation followed by a coda. A structural outline is given in Table 3.

TABLE 3 First Movement: Overview

First theme (mm.1-45) in F Exposition Transition (mm.46-53) (mm.1-102) Second theme (mm.54-80) in e Closing theme (mm.81-102)

Development fugue based on the first theme and closing theme (mm.103-176) First theme (mm.177-189) in F Recapitulation Transition (mm.190-198) (mm.177-250) Second theme (mm.199-225) in b Closing theme (mm.226-250) Coda Use of the fragment from the first theme in canon in F (mm.251-end)

The opening section has a joking character with lots of dynamic changes and witty ritardandi. It begins with an innocent, humorous, even satirically cheerful theme in F major which also becomes the subject of a fugue in the development section. The cheerful, impish first theme is played by the first violin while the other three instruments play a short swinging eighth note pattern. The theme is highly chromatic and includes all twelve notes of the chromatic scale

(Example 1.1). Eric Roseberry points out the influence of Beethoven in this quartet. According to him, the thematic and harmonic character of the first movement‘s exposition reveals a semitonal tension (F major and E minor) which takes hold of the whole quartet. The semitone shift of the opening three-note motive F-E-F (figure a, Example 1.2) exemplifies the relationship between the themes of the first movement and also the relationship between the first two movements of the quartet. In addition to the motivic-tonal relationships, the powerful fugato section in the development of the first movement is also an example of the influence that Beethoven had on Shostakovich‘s compositional style.46

Example 1.1 Movement 1, first theme (mm.1-10)

Example 1.2 Movement 1, figure a of the first theme (m. 1)

Movement 1, figure b of the first theme (mm. 8-10)

46 Eric Roseberry, Ideology, Style, Content and Thematic Process in the Symphonies, Cello Concertos, and String Quartets of Shostakovich (New York and London: Garland, 1989), 228.

Using a short accompanimental eighth note figure at the start of the movement is an effective way to express a delightful mood, and also helps to create naïve simplicity in the music. This style can be found in Shostakovich‘s other string quartets, in particular, the third movements of the Fourth Quartet and the first movement of the Seventh Quartet (Example 1.3-4).

Example 1.3 Fourth Quartet, Movement 3 (mm.1-5)

Example 1.4 Seventh Quartet, Movement 1 (mm.5-10)

In comparison to the first theme, the second theme of the first movement, in E minor, (Example 1.5) is more curious, mysterious, and questionable in feeling due to the longer articulations and softer dynamics, but a thematic connection with the first theme can be found in the shape of the motives. The falling and rising major second shape of figure c can be seen as an augmented version of figure a, and the shape of figure d is, in turn, another augmented version of figure b from the first theme (Example 1.6). Also, a tritone is an important motive to both themes. It is used melodically in the first theme but harmonically in the second theme (Example 1.7). The use of this interval in so many contexts gives the piece a more grotesque and enigmatic character.

Example 1.5 Movement 1, second theme (mm.54-65)

Example 1.6 Movement 1, figure c of the second theme (mm. 54-55)

Movement 1, figure d of the second theme (mm.56-57)

Comparison of figure a and c, b and d

Example 1.7 Use of tritone in the first and second themes (mm. 1-10, 54-57)

The tentative and hesitant melody of the second theme is suddenly interrupted by the closing theme, a new descending scale motive from the first theme (Example 1.8). In the closing section of the first movement, the strong chords in the lower strings foreshadow the third movement, and the dissonant canon between the first violin and cello in mm.84-87 gives a hint of the coming complex fugue in the developmental section of the movement (Example 1.9).

Example 1.8 Movement 1, comparison of the first theme and closing theme (mm. 1-2, 81)

Example 1.9 Movement 1, closing theme (mm.81-87)

Shostakovich combines the elements of the two principal themes skillfully in the brief closing section of the movement, but the playful first theme returns as a main subject for the fugal development. The main subject of the fugato is carried by the first violin exactly as is the opening thematic material of the movement. However, it quickly turns toward a disarming

complexity and conflict right away through dramatic dynamic changes. The fugal subject is based on the first theme while the countersubject is made up of combined fragments from the rising sixteenth note fragments of figure b of the first theme, and the descending scale motive of the closing theme (Example 1.10).

Example 1.10 Movement 1, fugal development (mm.107-126)

Again, Shostakovich emphasizes the tritone, using it to create a strange and tense atmosphere for the duration of the fugato. This chaotic, scrambling fugal section could reflect the ―future cataclysm.‖ while the exposition, with its two naive and grotesque themes, presents a

―calm unawareness.‖47 Shostakovich uses a stretto technique in the countersubject of the fugato at measure 153, and also in the subject stated at measure 164, in order to gain the climax at measure 170. The two violins play accented quarter notes in canon in full dynamics while the other instruments continue to play the subject and countersubject, and this leads to the highest culmination of the movement (Example 1.11). Again, we can hear figure a in the quarter note alternation between the violins. This version is an augmentation of figure a and is closely followed by yet another augmentation in the cello part. Right after the cello starts its augmentation, the first violin plays the opening theme again as if it is another entrance of the fugato still in a fortissimo dynamic, but instead of restarting the fugato, the violin restatement leads directly to the recapitulation. The harsh fugue subject becomes the joyful first theme again. Niall O‘Loughlin states, ―this development section shows a very good example of Shostakovich‘s carefully ordered but spontaneous-sounding musical argument by using suitable thematic materials.‖48

Example 1.11 Movement 1, the culmination of development (mm.169-185)

47 See the previous chapter about the subtitles, p.15. 48 Niall O‟Loughlin, “Shostakovich‟s String Quartets,” Tempo, No.87 (winter 1968-1969): 10.

The recapitulation is shorter than the exposition, and the second theme comes not in the tonic, as it should be in the recapitulation of the typical sonata form, but in B minor, which is related to F major by a tritone. The closing theme in the recapitulation, now marked poco più mosso, is repeated by the first violin four times with a gradually growing dynamic level. Once the violin has reached a mezzo forte dynamic, the cello abruptly takes over the theme. When the dynamic finally arrives at forte in the coda, a two-bar phrase of the first theme is added in the cello line to the thematic texture and it is repeated with growing intensity with chromatic accompaniment in the other instruments. After three repetitions of the two-bar thematic fragment in the cello, the two violins start playing the same thing in canon again at a fortissimo dynamic. This is reminiscent of the climax of the development‘s fugue section. The movement suddenly ends with a high harmonic in the first violin and a rich pizzicato chord in the accompanimental voices (Example 1.12).

Example 1.12 Movement 1, coda (mm.251-end)

Second Movement

The second movement, Moderato con moto, can be seen either as a double scherzo with a trio section or as a rondo with a recurring refrain. The movement is in the remote key of E minor. Since the first movement is in F major, the establishment of E minor for the key of the second movement again emphasizes the semitone relationship that is so important throughout the piece. Also, the darker mode steers the quartet toward a much more serious and intense sound, especially compared to the primarily light first movement. The overall shape of this movement can be seen in Table 4.

TABLE 4 Second Movement: Overview A B A' B' (Scherzo) (Trio) (Scherzo) (Trio) Coda mm.1-69 mm. 70-125 mm. 126-159 mm. 160-173 mm. 174-end a (mm.1-31) c (mm.70-92) a' (mm.126-133) c a' (mm.174-186) b (mm.32-60) c' (mm.93-109) b (mm.134-147) fragments from a a' (mm.61-69) c (mm.110-125) Transition (mm.187-end) (mm.148-159)

e, unstable F# e, unstable E-e e

To open the movement, the viola plays ostinato E minor triads in a very strong quarter note pulse. After two measures of viola ostinato, the aggressive first theme enters in the first violin part. Like the opening theme of the first movement, it travels through the twelve notes of the chromatic scale creating a sense of the tonal instability in spite of the firm E minor triads continuously played by the viola (Example 2.1).

Example 2.1 Movement 2, first theme (mm.1-14)

The beginning of the second movement of the quartet shares some similarity with the third movement of Shostakovich‘s Eighth Symphony since both begin with the aggressive E minor triadic ostinato in the viola (Example 2.2). Regardless of the different meters and tempi, the resolute, mechanical movement of the viola in both pieces seems to symbolically anticipate the violent war.

Example 2.2 Comparison of the viola‘s opening in the Eighth Symphony and Third Quartet

After the statement of the first theme in the violins, the cello is given another ostinato pattern, this time based on a fragment of the first theme. This ostinato pattern underscores the energetic second theme played by the viola. The repeated pattern of descending semitones in the accompanimental violins produces parallel perfect fourths (C-F and B-E) juxtaposed against the cello‘s ostinato, and continues to give the piece a sense of tonal unrest (Example 2.3).

Example 2.3 Movement 2, second theme (mm.30-41)

A shortened version of the first theme a' returns at measure 61 to end the first section of the movement, but in this statement Shostakovich uses a more rounded shape by linear legato texture and also sets up the coming enigmatic B section which is written at an almost inaudible pianissimo by using a diminished dynamic level (Example 2.4).

Example 2.4 Movement 2, the first theme‘s rounded version (mm.60-64)

While the first two themes in the A section (or scherzo) are violent, astringent and almost always accompanied with ostinato patterns, the third theme, which begins the B section (or trio section), is ghostly and shimmering, and is invariably played at a pianissimo dynamic (Example 2.5). To create this starkly different theme, four instrumental lines join together in a tapping, staccato pattern which is reminiscent of the earlier ostinato patterns. However, this time the repetitions have gained the upper hand in the creation of the melodic line rather than being used as an accompanimental figure. The slurred half note, eighth note figure as seen in the first violin part, gives this particular theme a waltz quality, yet it sounds restrained and strange because of the extremely soft dynamic range and the use of so many semitones.

Example 2.5 Movement 2, third theme (mm.70-76)

After the B section, the first theme comes back, played this time by the cello. However, the theme itself and the entire restatement of the A section is much shorter than the first A section of the movement. Compared to the sixty-nine bars of the first A section, the second A section consists of only thirty-four bars, almost exactly half the length of the initial A section. This pattern of diminution is also seen in the following second B section. The second B section is only fourteen bars in length compared to the forty-one bars of the previous one. After the shortened statement of the A and B sections, the first theme reappears once again in the cello, but this time in a slower tempo marked as meno mosso and then Adagio after a few more measures. Shostakovich again allows the theme to reach a forte dynamic as in the previous statements, but the theme is now darker and more obscure because it is played con sordino, with mute. The ominous sound is also emphasized by the slower pace of the movement within the accompanimental voices. The cello finishes the theme with a four-octave arpeggio reminiscent of the viola‘s ostinato at the very beginning of the movement, which creates a sense

of closure for the movement. However, the viola‘s quintuplet fragment from the second theme interrupts this sense of closure. As the viola line dies away, the violin lines slowly move downward by semitones continuing harmonic tension. As the movement finally draws to a close, the dynamic gradually diminishes to almost nothing. In a surprising twist, Shostakovich does not close the movement on a normal E minor chord, but instead on the suspicious closing harmony of E-G-C-E flat giving the end a sense of being unfinished (Example 2.6). Judith Kuhn observes, ―…this unsettled chord achieves no closure for the movement, and emphasizes the Moderato con moto‘s junction as preparation for the quartet‘s violent second scherzo.‖49 Indeed, performers usually choose to go on to the next movement almost without a pause, even though there is no attacca marked on the score.

Example 2.6 Movement 2, coda (mm.179-end)

49 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 117.

Third Movement

The third movement of the quartet, in G# minor, is the most intense and climatic movement of the entire quartet. Just like the second movement, it is built upon three main themes. The first two themes are metrically asymmetrical using both duple and triple meters while the third theme is mostly in duple meter. Interestingly, though the movement is marked Allegro non troppo, it shares the same metronome marking, quarter note=138, as the previous movement. Like the ambiguous close of the second movement, it shows another connection between the second and third movement. With predominant fortissimo dynamics, a propulsive rhythm and the full weight of the ensemble combined in huge double, triple and quadruple stopped chords, the music perfectly matches its original title, ―The forces of war unleashed.‖ The overall form of the movement is shown in Table 5.

TABLE 5 Third Movement: Overview First theme (mm.1-54) g# Scherzo Second theme (mm.55-64) f A Transitional theme (mm.65-81) unstable (mm.1-95) First theme (mm.82-87) Second theme (mm.88-95) E flat Trio Third theme (96-144) B Transition (mm.145-153) (mm.96-153)

First theme (mm.154-177) unstable Scherzo Second theme (mm.178-187) A' Transitional theme (188-204) (mm.154-218) First theme (mm.205-210) Second theme (mm.211-218)

TABLE 5 Continued C-g#

Coda Fragments from (mm.219-end) the first and third themes

Like the first movement, the lower three instruments start this movement with a chordal accompaniment, but this time it is shocking and surprisingly aggressive due to the violence of the fortissimo G# minor chords. The fortissimo dynamic and the dark G minor mode foreshadow the terrifying emotions that make up the movement. Starting movements with slashing accompanimental chords, as he does in this scherzo, is one of Shostakovich‘s signature techniques. For example, Shostakovich used this technique in the second movements of both his Eighth Quartet and Tenth Symphony (Example 3.1).

Example 3.1 Third Quartet, Movement 3 (mm.1-3)

Eighth Quartet, Movement 2 (mm.1-3), Tenth Symphony, Movement 2 (mm.1-3)

Over the strong accompanimental chords that open the movement, the first violin plays a violent and disruptive theme. Like the first themes of the previous two movements, it cycles through the twelve tones of the chromatic scale. The theme also contains some elements from the first two movements including the quarter note, minor chord outline (m.6) from the viola ostinato of the second movement, and the descending scale motive (mm.11 and 18) from the closing theme of the first movement (Example 3.2).

Example 3.2 Movement 3, first theme (mm.1-12)

After the twenty-eight bar opening statement, the theme is repeated, this time in octaves between the first violin and viola. Shostakovich intensifies the aggressive, accompanimental chords by creating a faster-paced rhythmic line and by giving the two players triple-stops in addition to the double-stops. A few measures later, the duet between the first violin and viola becomes a dissonant canon reminiscent of the first movement‘s fugue. At this point the cello begins an ―oom-pa‖ accompanimental figure which is a dance-like rhythmic device from Jewish folk-music (Example 3.3).50 Jewish elements such as this ―oom-pa‖ texture are often found in Shostakovich‘s instrumental works. Most famously, he uses such idioms in his Second Piano

50 “oom-pa” accompaniment is often used in klezmer music, which is a folk music associated with Jewish tradition in Eastern Europe, developed as the accompaniment to weddings and other joyful celebrations.

Trio, Fourth and Eighth String Quartets, and the First Violin Concerto. Example 3.4 shows a typical instance of the ―oom-pa‖ accompaniment in the music of Shostakovich, from the fourth movement of the Fourth Quartet.

Example 3.3 Movement 3, canon between the first violin and viola (mm.40-48)

Example 3.4 ―oom-pa‖ accompaniment in the Fourth Quartet, Movement 4 (mm.27-32)

At measure 55, the striking accompanimental chords in F minor, played by all four instruments, are restated, but this time they underscore a new theme. This second theme resembles the descending scale motive of the first theme and is stated at the strongest dynamic level of this piece: fff (Example 3.5). Shostakovich uses the familiar tritone harmonic tension (F-

B) from the first movement in the lower instruments as an accompaniment figure for the transitional theme at measure 65 (Example 3.6). Even though the dynamic level is lowered to fortissimo at this point, here, the harmonic intensity continues to increase. This intensity comes not only from the driving rhythmic character of the thematic material but also from the strong dissonances that are emphasized throughout the section. In measure 82, Shostakovich once again arrives at a canon based on the fragments from the first theme and second theme so that the movement can continue to build intensity and tension. This canon moves between the two violin lines and is played a semitone higher than its first appearance while the viola and cello repeatedly emphasize the semitonal pattern E-F from figure a. This emphasis on the E-F semitonal relationship again creates growing harmonic tension within the movement and within the quartet as a whole (Example 3.7).

Example 3.5 Movement 3, second theme (mm.54-63)

Example 3.6 Movement 3, transitional theme, use of tritone (mm.64-69)

Example 3.7 Movement 3, end of the first scherzo (mm.83-95)

The trio section of the third movement begins once again with the aggressive opening chords, this time heard in E flat major. After the chordal introduction, the viola plays the cheerful third theme while the three other instruments accompany with alternating pizzicato patterns (Example 3.8). The rhythmic pattern of the alternating pizzicato is another use of the ―oom-pa‖ texture. Judith Kuhn states, it is ―a klezmer-like, ambivalent oom-pa dance, grotesque in the midst of this movement‘s violence.‖51

Example 3.8 Movement 3, the third theme (mm.96-108)

After the viola‘s long statement of the third theme, it is restated briefly in canon between the first violin and the other three instruments in measure 137. Canonic patterns are used very often in this movement, functioning as closing material before the appearance of a new theme. Canons appear before the second theme in measure 43, the third theme in measure 88, in the return of the first theme in measure 137, and at the end. After a short transition, the scherzo section reappears in G minor, a semitone lower than the original key of G sharp minor, again emphasizing the semitone relationship prevailing in the piece. In this version of the scherzo, the theme is played at a piano dynamic and connected by

51 Ibid., 120.

slurs. Unlike the previous statements, the second violin also has a melodic line with a highly chromatic motion creating dark, mysterious harmonic tension (Example 3.9).

Example 3.9 Movement 3, beginning of the second scherzo (mm.152-162)

The dynamic level soon increases until it explodes into yet another canon between the two violins, supported by the ―oom-pa‖ accompanimental line. The second scherzo section is fifty-four bars in length, which is much shortened in comparison to the first scherzo section of ninety-five bars. At the coda, for the first time in the movement, all the instruments are given quadruple- stopped chords in C major. The use of such full chords that must be rolled and the change to C major is a very strong and effective gesture to open the coda section of the movement. A fragment from the third theme from the trio is played in canon between the upper three instruments and the cello. The canonic melody moves quickly back to the descending scale motive from the first theme and Shostakovich once again revoices the canon, this time to be played against another repeated semitone pattern in the second violin and cello line. These semitone dissonances underneath the frantic canonic material create a dramatic and fiery conclusion of the movement (Example 3.10).

Example 3.10 Movement 3, coda (mm. 218-end)

Fourth Movement

Just as in Shostakovich‘s Eighth Symphony, First Violin Concerto, and the Second Piano Trio, a sorrowful passacaglia follows the violent scherzo. Shostakovich makes use of the passacaglia form in a number of his symphonies, concertos, and chamber music, and in particular within his string quartets. Shostakovich wrote a passacaglia movement for his two previous quartets (the second movement of the First Quartet and the fourth movement of the Second Quartet), and significantly, used the form in the penultimate movements of the Third, Sixth, and Tenth Quartets. Each of these movements is a set of variations based on the passacaglia theme, and all are linked, literally and thematically, with their respective final movements.52 The fourth movement, Adagio, begins with a grievous, heavy theme in C# minor played in octaves by the three lower instruments. Table 6 describes the seven statements of the passacaglia theme, labeled as theme A. The movement is primarily based on theme A, but does contain some other thematic materials as well (shown in Table 7).

TABLE 6 Fourth Movement: Overview A (m.1) A (m.14) A (m.29) A (m.40) A (m.48) A (m.57) A (m.68) Three Three Cello First violin First violin Cello Viola lower lower instruments instruments

TABLE 7 Fourth Movement: Other Thematic Materials

A (m.1-) m.6, first violin‘s recitative (supported by the second violin)

m.19, first violin‘s recitative (supported by the second violin and viola) A (m.14-)

With the viola‘s transitional melody to the funeral march rhythm (dotted A (m.29-) quarter note followed by two sixteenth notes)

52 Niall O‟Loughlin, “Shostakovich‟s String Quartets,” Tempo, No.87 (winter 1968-1969): 11.

TABLE 7 Continued Extended version of theme A of the first violin over the funeral march A (m.40-) rhythm of the three lower instruments

Extended version of theme A with accelerando A (m.48-)

m.61 First violin continues extended version of theme A following the A (m.57-) cello‘s theme A

A (m.68-) Functions as a transition to the finale movement over the cello‘s funeral march theme

The passacaglia theme is reminiscent of the funeral marches such as Beethoven‘s Third Symphony and Chopin‘s Second Piano Sonata in part because of the use of dotted rhythms. Yet most of all, it shows an overt influence from the G# minor passacaglia of Shostakovich‘s own Eighth Symphony. Both the fourth movements of the Eighth Symphony and the Third Quartet begin with the exact same rhythmic motive recalling a funeral march: a dotted half note followed by a dotted eighth note and sixteenth note figure. Shostakovich used this rhythmic motive again later in the sixth movement of his Eleventh Quartet. Although it is not a passacaglia movement, the movement is primarily based on this rhythmic pattern (Example 4.1).

Example 4.1 Comparison of the rhythmic motive: Third Quartet, Movement 4 (mm.1-3)

Example 4.1 Continued: Eighth Symphony, Movement 4 (mm.1-5)

Eleventh Quartet, Movement 6 (mm.1-4)

Example 4.2 Movement 4, first and second statements of the theme (mm.1-24)

After the powerful unison statement of the passacaglia theme, the first violin enters the texture with a calm, recitative-like melody in a contrasting dynamic and color. Like a sorrowful requiem or tragic aria, the violin‘s recitative is a free and utterly beautiful song. It is supported by the unison motion of the three lower instruments so that the violin is in the role of a vocalist being carried by a large chorus of voices (Example 4.2). Judith Kuhn has observed that this opening section of the main theme and the first violin‘s recitative is, ―…the polarization of unison and monologue, to present a complex and subtle picture of interaction between social and personal grief.‖53 Shostakovich uses this technique in his other works as well, in particular in the opening of the fourth movements of the Second Quartet and the Ninth Symphony (Example 4.3).

Example 4.3 Comparison of the beginnings of the Second Quartet and Ninth Symphony: Second Quartet, Movement 4 (mm.1-14)

53 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 122.

Example 4.3 Continued: Ninth Symphony, Movement 4 (mm.1-11)

The second statement of the theme contains all twelve notes of the chromatic scale recalling the opening themes in the first and second movements (Example 4.2). The violin‘s second recitative follows in a higher register accompanied by a slow, chromatic motion in the two middle instruments, but the texture is still very thin in comparison to the unison theme. Unlike the first two appearances, the third statement of the main theme is played by the cello at a piano dynamic. The theme maintains its harmonic intensity since the two middle instruments‘ chromatic motion continues to create a sense of tension and dissonance underneath the thematic line. The long and ambiguous chromatic line of the lower voices finally comes together in a unison rhythmic motive in measure 38. This rhythmic pattern is a funeral march

rhythm (a dotted quarter note plus two sixteenth notes followed by a quarter note). This figure now becomes the accompaniment for the next appearance of the theme in the first violin line (Example 4.4). According to Judith Kuhn, this funeral march rhythm echoes the fanfare figures of the previous movement (Example 3.6), and presents ―a sadly transformed echo of the accompaniment that opened the quartet‖ (Example 1.1).54

Example 4.4 Movement 4, fourth statement of the theme over funeral march rhythm (mm.35-42)

In the fourth statement of the passacaglia theme, two funeral march elements are added to the texture to further the sense of grief within the movement. This time the theme is extended and connects to the next statement, which then explores all twelve pitches of the chromatic scale as before, only this time an octave higher. With an urgent accelerando and growing dynamic level, the grief that is so apparent within the movement builds into a furious rage. This rage is heard in the fifth statement of the theme. Yet the rage is short-lived as the movement shortly arrives back as its original Adagio tempo. Shostakovich seems driven to despair at this point in the music, as can be heard in the painful sighing figure he uses (Example 4.5).

54 Ibid., 123.

Example 4.5 Movement 4, fifth and sixth statements of the theme (mm.46-60)

The dynamic falls to pianissimo at the sixth statement of the main theme, carried by the cello and played against another recitative-like melody in the first violin‘s higher register. This moment of recitative is reminiscent of the opening of the movement (Example 4.2). The two themes played independently are now played together. This statement soon tries to climb toward a climax through the use of an increasing dynamic level and ascending scales throughout the first two measures of the statement. Yet after the briefest of climaxes, the movement starts sinking slowly toward the last statement of the theme.

The passacaglia theme which was given to the cello, and then to the violin, is now finally heard in the solo viola line. This last statement of the theme is accompanied only by the bass notes of the cello. This bass note figure can be heard as a diminished version of the previous march rhythm, and it sounds like muffled drums due to the low dynamic level. The last thematic statement hesitates to arrive at a final cadence, but after a few measures of a tiring dialogue between the viola and cello, both eventually arrive on C# in measure 78. At the last measure of the movement, as the viola melody finally winds down into nothing, the cello takes over, moving down a semitone from the viola‘s C# to begin the final movement once again in F major, the initial key of the piece (Example 4.6).

Example 4.6 Movement 4, last statement of the theme (mm. 67-end)

Fifth Movement

The fourth and fifth movements of the Third Quartet are linked. This is the first in which Shostakovich chose to connect two movements without a pause using an attacca, and it is a technique that he used in every quartet after this except in string quartets No.12 and No.13. Some of the quartets (Nos.5, 7, 8, 9, 11, and 15) are in effect single-movement works because every movement is connected by an attacca, even though Shostakovich designated more than one movement in the score.55 It seems that Shostakovich wished to unify a quartet using this technique. The final movement, Moderato, is in a sonata-rondo form in F major. The sonata rondo is a hybrid design incorporating elements from both sonata and rondo form. Typical sonata- rondos follow an ABACAB′A plan in which the first A and B are treated as the primary and secondary themes of an exposition, the C section becomes a development, and the second A and B are treated as a recapitulation.56 Like the final movement of Shostakovich‘s Eighth Symphony, the fifth movement of the Third Quartet is a modified sonata-rondo. Both works have an A-B-A- C-A-D-C-B-A scheme. The first theme does not return in the beginning of the recapitulation as it should. Instead, the third theme starts the recapitulation and it is followed by the second theme. After this reverse thematic appearance, the first theme makes its final appearance, but it is fragmented, and functions as the coda. Judith Kuhn states, ―…it is one of the composer‘s most graphically expressive sonata deformations.‖57 The overall form of the fifth movement is shown in Table 8.

55 The Thirteenth Quartet is truly the only single-movement quartet. 56 Don Michael Randel, The Harvard Dictionary of Music (Cambridge, Mass: Belknap Press of Harvard University Press, 2003), 800. 57 Judith Kuhn, “The string quartets: in dialogue with form and tradition,” in The Cambridge Companion to Shostakovich, ed. Pauline Fairclough and David Fanning (Cambridge: Cambridge University Press, 2008), 43.

TABLE 8 Fifth Movement: Overview A First theme section(mm.1-51) F Transition (mm.52-70) B Second theme section (mm.71-109) d Exposition Retransition (mm.103-109) (mm.1-195) A First theme section(mm.110-138) F Transition (mm.130-138) C Third theme section(mm.139-185) A-D-E flat Retransition (mm.186-195) A First theme section(mm.196-244) F-F#-f# Development D passacaglia theme(mm.245-269) c# (mm.196-291) Transition (mm.270-291) F-G# C Third theme section(mm.292-313) a Recapitulation Retransition (mm.314-321) (mm.292-352) B Second theme section(mm.322-330) F Transition (mm.331-352) A fragment of the first theme F Coda (mm.353-end) (mm.353-end)

The movement starts at a pianissimo dynamic, as the cello‘s opening theme slowly draws the sunken mood of the previous movement to the surface. The theme starts with semitone motion (G flat-F, D flat-C), which has prevailed throughout the entire quartet, and it contains all twelve musical pitches just as in the opening themes of the previous movements (Example 5.1). Also, the melodic contour of the theme‘s opening is reminiscent of the first movement‘s second theme due to the ambiguous semitone melodic outline (C-D flat-C-B), lower dynamic level, and legato texture (Example 5.2).

Example 5.1 Movement 5, first theme (mm. 1-14)

Example 5.2 Movement 5, comparison of the second theme from the first movement

In spite of the semitone motion and the long slurred line, the opening theme sounds awkward yet expressively lyrical at the same time. Since there is no dynamic change or any cadence on the tonic, the cello‘s melody is static and continuous. It is not until measure 33, when the theme is taken over by the first violin, that the music has any sense of harmonic arrival. During the first violin‘s statement of the theme the cello accompaniment gives the music a subtle foundation of F major even though the melody itself is still wandering in harmonic uncertainty (Example 5.3). After a long rest, the second violin joins the running triplet line that has already begun in the first violin part to create a new texture for the transition into the second theme at measure 71.

Example 5.3 Movement 5, first theme in the first violin (mm.32-36)

Harmonically more settled in D minor, the second theme is first stated in the first violin. This sustained and subtle theme is played against a delicate accompaniment (Example 5.4). Judith Kuhn observes that the shape of the second theme is reminiscent of the previous movement‘s passacaglia theme due to the use of the sustained pitch, descending stepwise motion and an ascending triad, even though the resemblance is fleeting.58

Example 5.4 Movement 5, second theme (mm.69-83)

58 Judith Kuhn, Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7 (England: Ashgate Publishing Limited, 2010), 127.

After a retransition consisting of the running triplets figure, the first theme reappears in the first violin. However, this restatement of the first theme quickly dissolves back into the transitional triplet passage as the music forges ahead toward the third theme area. The third theme is a stark contrast to the previous themes since its tonal center has moved to A major and also the meter has changed from compound 6/8 to 2/4. This contrast serves to heighten the obvious ties to thematic materials from the previous movements. The beginning of the third theme section, starting at measure 159, is similar to the very opening of the piece (Example 5.5) since both sections contain a staccato eighth note accompaniment which is primarily a repetition of the tonic triad in a three voice texture. Another connection between movements can be seen in the rhythmic motive of the accompanimental line. The entirety of the third movement contains an underlying two sixteenth note/eighth note rhythm (Example 5.6) and it is echoed in the third theme of the last movement. The cheerful rhythmic figure of the cello‘s theme, an eighth note followed by two sixteenth notes, is also similar to the opening theme of the first movement. However, Shostakovich chooses to reinvent the melodic line in the last movement by inverting the line so that the line ascends rather than descends as it does in the first movement. The meter, articulation, and dynamic level are also the same (Example 5.7).

Example 5.5 Movement 1, opening theme (mm.1-4)

Example 5.6 Movement 3, rhythmic figure (mm.128-130)

Example 5.7 Movement 5, third theme (mm.139-142)

At measure 155, the first violin joins the theme two octaves above the cello line. As the theme evolves, the tonality of the section moves from A major, through D major and finally arrives in E flat major. Though it seems the first violin will take over the theme at this point, the cello instead once again restarts the theme, this time with the first violin as accompaniment (Example 5.8). The melodic motion of the accompanimental triplet figure followed by the descending eighth note and quarter note rhythm in the first violin line is another motive that recalls material from the second theme of the first movement. Example 5.9 shows the resemblance between the two melodic shapes. Furthermore, the secondary accompaniment figure, played by the two inner instruments, is vaguely reminiscent of the funeral march rhythm of the fourth movement even though it is in a faster tempo (Example 5.10). Shostakovich uses a lot of quotation and motivic reinvention as seen with the third theme section of this movement, but it carries through to the other sections as well.

Example 5.8 Movement 5 (mm.176-179)

Example 5.9 Movement 5 (mm.176-177) and Movement 1 (mm.54-55)

Example 5.10 Movement 5 (mm.177-179) and Movement 4 (mm 39-40)

The first theme returns again in measure 196, now placed at the beginning of the development section. In this context, it appears in canon between the cello and first violin while the accompanimental triplet passage continues in the viola. The intensity of the music increases as the three upper instruments meet in measure 219 in an ascending chromatic passage against the cello‘s theme. The dynamic also gradually increases to fortissimo by measure 235 and it is at this climactic point that the viola and cello play a canon against the violin‘s aggressive sixteenth note accompaniment. At measure 246, the passacaglia theme from the fourth movement reappears in canon between the two lower instruments. It is played in its original key of C# minor at a full dynamic level. This reminiscence of the previous movement‘s grief makes for a great dramatic moment as the piece reaches its culmination. After accompanying with an intense and dissonant ostinato pattern, the two violins take over the passacaglia theme and play the later part of the extended passacaglia theme, the despairing sigh figure, in unison (Example 5.11).

At measure 270, after Shostakovich has allowed the climactic quotation of the passacaglia material to die down, the muted cello rises above the texture of the accompanimental line to play the transitional melody, another twelve note pitch fragment. Recalling the stark ending of the fourth movement, the other instruments drop away as the cello line remains alone, sounding an E (Example 5.12).

Example 5.11 Movement 5, return of the passacaglia theme (mm.245-259)

Example 5.11 Continued

Example 5.12 Movement 5, return of the third theme (mm.269-297)

Instead of the first theme returning in the tonic as it should be in the recapitulation, the third theme reappears in the first violin in A minor in contrast to its original major. Since it is in a minor key and now all the instruments are muted, the theme, with its still cheerful rhythm, becomes sad, ambiguous, and tiring after the grieving memory of the fourth movement. The accompaniment pattern underlying this muted, sad statement of the theme is the same as the very opening of the piece as if Shostakovich yet again wanted to invoke the past (Example 5.12). Although it is still unstable, the tonic key F major finally appears in the restatement of the second theme at measure 322. Like the first movement, all the thematic statements are notably abbreviated in the recapitulation. Interestingly, there is no complete statement of the first theme in the fifth movement‘s recapitulation. The only reoccurrence of any part of the first theme appears after the second theme‘s statement in measure 335. The fragment appears in the cello first, marked poco espress., in ascending and descending melodic contour for two measures, and then moves to the first violin‘s recitative. Like the Second Piano Trio and the Eighth Symphony, Shostakovich uses the thematic fragments over a tonic pedal to end the Third Quartet. Above the twenty-six bars of a tonic pedal chord in the three lower instruments, the first violin recreates fragments of the first theme by using repetition and augmentation. The use of fragmented statements gives this coda section a sense of incompleteness. The tessitura also slowly rises until the violin ascends to notes only playable through the use of false harmonics. This higher tessitura and fragmentation seem to pose ―the eternal question‖ which never gets an answer. The piece instead fades away with three pizzicatos of an F major triad (Example 5.13).

Example 5.13 Movement 5, coda (mm.352-end)

CHAPTER 4

A COMPARISON OF THREE ENSEMBLES’ INTERPRETATIONS

In this chapter, I am going to compare three recordings of different ensembles. The selected ensembles are the Beethoven Quartet, the Borodin Quartet, and the Fitzwilliam Quartet, all of whom had a close relationship with Shostakovich. This chapter will include a brief history of each ensemble and a comparison of three recordings of Shostakovich‘s String Quartet No.3 in F Major, Op.73. The comparison focuses on the tempos, dynamics, and articulations used by each quartet. All three recordings were played at the same volume for comparison. However, it should be noted that the sound quality and volume of each recording cannot be identical, since these recordings were made in the different settings at different times.

Historical Background of the Three Ensembles

The Beethoven Quartet The Beethoven Quartet was originally founded in 1923 under the name of the Moscow Conservatory Quartet. Its founding members were all graduates of the Moscow Conservatory: violinists Dmitri Tsyganov, Vasily Shirinsky, violist Vadim Borisovsky, and cellist Sergei Shirinsky. The Quartet presented its first Beethoven cycle for the composer‘s centenary in 1927.59 After another successful cycle in 1931, it took its permanent name along with recognition as the top Soviet quartet.60 From 1938 the quartet collaborated closely with the composer Dmitri Shostakovich. Shostakovich dedicated his third and fifth quartets to the Beethoven Quartet, and also the eleventh through fourteenth quartets to members of the group. The Beethoven Quartet premiered all of Shostakovich‘s string quartets except the first and last, as well as the Piano Quintet in G Minor, Op.57 with the composer as pianist. The group remained intact until the mid1960s when the second violinist and violist were replaced by

59 Tully Potter, "Beethoven Quartet," in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010). 60 Bart Scribner, “Shostakovich States: Masters are playing,” in Music Review La Folia, http://www.lafolia.com (accessed May 31, 2010).

Nikolai Zabavnikov and Fyodor Druzhinin respectively. A complete Beethoven cycle was recorded by this formation of the ensemble.61 After Sergey Shirinsky passed away in 1974, Yevgeny Altman became the cellist in 1975 and on Tsïganov‘s retirement in 1977, Druzhinin reorganized the group with Oleh Krysa as the first violinist. The second Beethoven Quartet, in which Druzhinin and Altman were eventually succeeded by Mikhail Kugel and Valentin Feigin respectively, disbanded in 1987.62 The Beethoven Quartet had recorded Shostakovich‘s quartets between 1950s and 1960s, and their LP recording was issued by Melodiya in 1965. In 2006, it was re-issued on a CD version by Doremi Records. The Beethoven Quartet‘s recording includes all of Shostakovich‘s fifteen string quartets and the Prelude and Scherzo for String Octet Op.11 performed with the Komitas String Quartet.

The Borodin Quartet The Borodin String Quartet was founded at the Moscow Conservatory in 1945 by students from the Moscow Conservatory: violinists Rostislav Dubinsky and Nina Barshai, violist Rudolf Barshai, and cellist Mstislav Rostropovich, who was soon replaced by Valentin Berlinsky.63 During the first decade there were several changes of personnel.64 It was first known as the Moscow Philharmonic Quartet, but it changed its name to the Borodin Quartet in 1955 to honor the first great Russian composer to master the quartet form.65 ―In those days the group was the up-and coming representative of the younger generation, contrasting with the established and venerable Beethoven Quartet.‖66

61 Tully Potter, "Beethoven Quartet," in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010). 62 Bart Scribner, “Shostakovich States: Masters are playing,” in Music Review La Folia, http://www.lafolia.com (accessed May 31, 2010). 63 Tully Potter, "Beethoven Quartet," in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010). 64 Nina Brashai was replaced by Jaroslav Alexandrov in 1952, and Rudolf Barshai was succeeded by Dmitri Shebalin in 1953. The formation of Dubinsky, Alexandrov, Shebalin and Berlinsky lasted for two decades. 65 “Introduction,” in the Borodin Quartet website, http://www.borodinquartet.com (accessed May 31, 2010). 66 Edith Eisler, 21st Century String Quartets, Vol.1 (San Anselmo, CA: String Letter Publishing, 2000), 59.

Also, the Borodin Quartet had a close relationship with Shostakovich, who personally consulted with them on his quartets, and the group often played through each new quartet for the composer before its premiere, giving Shostakovich the chance to hear his music before it was performed in public.67 In the mid 1970s, Andrei Abamenkov succeeded to Alexandrov who left for health reasons, and Mikhail Kopelman became the first violinist after Dubinsky immigrated to USA. In the following two decades the quartet was accepted internationally as ―one of the world‘s most renowned ensembles.‖68 The current ensemble includes Andrei Abramenkov, Ruben Aharonian, Igor Naidin and Vladimir Balshin. In 1996, Andrei Abramenkov became the new first violinist when Kopelman left, Ruben Aharonian and Igor Naidin joined in 1996, and Vladimir Balshin joined the Quartet in 2007 after the retirement of Valentin Berlinsky, one of the founding members. The Borodin Quartet has recorded three cycles of Shostakovich‘s quartets. The first cycle was made by the formation of Dubinsky, Alexandrov, Shebalin and Berlinsky for the Soviet label Melodiya. Since it was recorded in between 1967 and 1971 before Shostakovich had proceeded to write his last two quartets, the set comprised only the first through thirteenth quartets. After the quartet evolved into its second established formation, with new violinists joining in the 1970s, the second Shostakovich cycle was recorded for Melodiya, this time including Nos.14 and 15. Several years later, the Borodin Quartet re-recorded several of Shostakovich‘s quartets in digital sound for EMI/Virgin Classics in 2000.69 For the comparison, I used the third cycle which includes Shostakovich‘s string quartet Nos.2, 3, 7, 8, and 12.

Fitzwilliam String Quartet The Fitzwilliam String Quartet was founded in 1968 by four Cambridge University undergraduates. The founding members include violinists Lucy Russell, and Jonathan Sparey, violist Heather Tuach, and cellist Alan George. The quartet became well known through their

67 “Shostakovich and the Quartet,” in the Borodin Quartet website, http://www.borodinquartet.com (accessed May 31, 2010). 68 Tully Potter, "Borodin Quartet," in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010). 69 “Repertoire and Recordings,” in the Borodin Quartet website, http://www.borodinquartet.com (accessed May 31, 2010).

close personal association with Shostakovich. Shostakovich befriended them following a visit to York to hear them play and entrusted them with the Western premieres of his last three quartets.70 According to Benjamin Britten who was a close friend of Shostakovich, the Fitzwilliam Quartet was Shostakovich‘s ―preferred performers of my quartet.‖71 Soon after the premiere of these quartets, the Fitzwilliam Quartet recorded all fifteen string quartets of Shostakovich. The recording garnered many international awards including the first Gramophone Award for chamber music in 1977 and Gramophone magazine‘s ―Hundred Greatest-ever Recordings‖ in 2005. The recording by the Fitzwilliam Quartet includes all of the fifteen string quartets of Shostakovich and was re-released for a third time on the Decca label in 1998.

Comparison

First Movement

TABLE 9 Comparison of the Tempo, First Movement Beethoven Quartet Borodin Quartet Fitzwilliam Quartet

1st movement (♩=112) 6:53 (♩=111) 6:37 (♩=116) 6:57 (♩=114)

The Borodin Quartet take the fastest tempo in the first movement, approximately played at ♩=116-117. They also maintain this tempo until the poco più mosso. In comparison to the Borodin Quartet‘s interpretation, the Beethoven Quartet and the Fitzwilliam Quartet have more flexible ideas about the tempo. The total length of the movement on the two quartets is similar as shown in Table 9, but the Beethoven Quartet plays the first theme area slightly slower than the second theme area (♩=111 in the first theme area and ♩=113 in the second theme area), while

70 “Biography,” in the Fitzwilliam Quartet website, http://www.fitzwillamquartet.org (accessed May 31, 2010). 71 Ibid.

the Fitzwilliam Quartet takes the faster tempo in the first theme area (♩=114) slows for the second theme area (♩=109). Of course the tempo change is very subtle, but it creates a change in character within the opening section of the movement. As taking the slower tempo for the second theme area, the Fitzwilliam Quartet emphasizes a contrast between the short articulation of the first theme and the legato line of the second theme. On the contrary, the Beethoven Quartet unifies the two themes which have the opposite articulations by increasing the tempo on the second theme. Even though the Borodin Quartet maintains the steady tempo throughout the movement, it does not sound straightforward since they are shaping the musical phrases so wisely. For example, to begin the movement, the Borodin Quartet plays at a higher dynamic level than the indicated piano within the accompanimental line, and makes a diminuendo right after the first violin‘s entrance. Interestingly, the Beethoven Quartet is shaping this opening accompaniment in a different way. In the Beethoven Quartet‘s recording, the cellist plays the tonic F slightly louder and longer than the other two accompanimental instruments, which creates a strong sense of the key of F major (Example 6.1).

Example 6.1 Movement 1 (mm.1-4), Borodin Quartet

Movement 1 (mm.1-4), Beethoven Quartet

Stylistically, the opening of the movement on the Fitzwilliam‘s recording is very cheerful and vigorous due to their use of consistently short, light staccato. Compared to the other Quartet recordings, the Fitzwilliam Quartet maintains the marked staccato articulation strictly throughout the piece, which creates a large contrast with the legato lines. For example, in measure 43, the Borodin and Beethoven Quartets play the last two eighth-note figure in the first violin line longer due to the marked ritardando, but the Fitzwilliam Quartet maintains the short staccato articulation in order to make a contrast with the next measure‘s legato (Example 45). Also, this passage is another good example that shows the Borodin Quartet‘s shaping skill. Here, the Borodin Quartet adds very tiny ritardando which is not written in the score in order to close the phrase efficiently. In measure 45, the first violinist slows down subtly while also adding a diminuendo to close the phrase delicately and make a smooth connection into the next phrase (Example 6.2).

Example 6.2 Movement 1 (mm.42-46)

In comparison to other two quartet‘s recordings, the first theme in the movement of the Beethoven Quartet‘s recording sound more tender and relaxed because of the slightly slower tempo and gentle staccato articulation. At the transitional melody before the second theme in measure 56, the Beethoven Quartet increases the tempo slightly, and plays the second theme at a more moving tempo. Also, the beginning of the second theme (two quarter notes) is played with separation unlike the same place in the recordings of the other quartets which is played in a completely connected way (Example 6.3). Again, the Beethoven Quartet may have wanted to unify the style of the first and second themes as they play the first theme (which has short articulation) slightly longer, and the second theme (which has a legato line), slightly shorter. This makes the whole exposition more cohesive while the other two quartets make a marked contrast between the first and second themes.

Example 6.3 Movement 1, second theme (mm.54-58)

When the four instruments have the same rhythmic figure at the climactic passages within the movement, the Borodin Quartet stretches the note values with exaggerated accents in order to create a dramatic moment. Example 6.4 shows these examples in the development and coda. Also, the extreme contrast of the articulations of the Fitzwilliam Quartet is shown in the coda. Even though the two violins‘ melodic line is the fragment of the first theme which has been played with short articulation, there is no staccato marking in the coda. While the other two Quartets play it maintaining the short articulation, the Fitzwilliam Quartet plays the fragment of the first theme in a very connected way making a full sound and creating a strong contrast with the short rhythmic accompaniment figure (Example 6.4).

Example 6.4 Movement 1, development (mm.169-172), Borodin Quartet

Example 6.4 Continued, Movement 1, coda (mm.152-end)

Second Movement

TABLE 10 Comparison of the Tempo, Second Movement Beethoven Quartet Borodin Quartet Fitzwilliam Quartet 2nd movement (♩=138) 4:43 (♩=131) 5:22 (♩=135) 5:21 (♩=134)

The suggested tempo marking for the second movement is ♩=138, but all three Quartets play the movement slightly under tempo. The Beethoven Quartet’s tempo choice is the slowest

of the three recording’s tempi but since the other quartets take such liberties with the tempo, the duration of the Beethoven Quartet’s performance is the shortest due to how well it maintains a steady tempo throughout the movement. The Borodin and Fitzwilliam Quartets take faster tempi than the Beethoven Quartet, but they slow the tempo down for the B section (or the trio section) of the rondo. The Beethoven Quartet’s interpretation of this movement clearly leans toward understanding the movement as a rondo, while the other two Quartet’s interpretations stem from the idea that the movement is a scherzo and trio.72 The Borodin Quartet’s chosen tempo for the trio section is notably slower than the scherzo section, even in comparison to the tempo chosen by the Fitzwilliam Quartet. It is played approximately ♩=127 compared to ♩=135 in the scherzo section. Because of their slower tempo and the steadiness of the eighth note figure within the section, the Borodin Quartet’s recording emphasizes the wholeness of the trio section while it also creates a sense of resistance. On the other hand, the Beethoven Quartet’s interpretation is more fluent in quality and gives more shape to the melodic material since they emphasize the musical lines rather than changes in tempo (Example 7.1).

Example 7.1 Movement 2, B section (mm.70-75)

The viola’s aggressive triadic ostinato in the beginning is a very important accompanimental figure within the movement. The Fitzwilliam Quartet’s violist plays the ostinato pattern with a tenuto articulation unlike the shorter articulation used by the other

72 As I mentioned in the previous chapter, the second movement, Moderato con moto, can be seen either as a double scherzo with a trio section or as a rondo with a recurring refrain.

Quartet’s. The Fitzwilliam Quartet violist’s stroke is almost entirely connected and is further emphasized with a heavy vibrato which produces a full sound. The other two Quartet’s ostinato pattern is played short, almost resolute in character, as if there were a printed accent or staccato on every note. This dry and harsh articulation creates a more mechanical sound (Example 7.2). One other difference that stands out between the three recordings is the use of the open E string in measures 14 and 50 in the Fitzwilliam and the Borodin Quartet recordings. It is probably that the two ensembles chose to use the open E in order to create a strong and effective glissando (Example 7.3).

Example 7.2 Movement 2, viola ostinato pattern in the opening (mm.1-4)

Example 7.3 Movement 2, Borodin and Fitzwilliam Quartets (mm.12-14)

Third Movement

TABLE 11 Comparison of the Tempo, Third Movement Beethoven Quartet Borodin Quartet Fitzwilliam Quartet 3rd movement (♩=138) 4:01 (♩=138) 4:17 (♩=134) 4:17 (♩=134)

The third movement is the most straightforward and similar between the three recordings. The Borodin and Fitzwilliam Quartets take a slightly slower tempo than the marked one, while the Beethoven Quartet plays at the marked tempo. Each version of this movement maintains a

steady and inflexible tempo except the Fitzwilliam Quartet‘s recording, which slows the final chords before the coda in order to intensify the final statement of the chordal accompaniment. The most significant difference of interpretation within the third movement is the use of different bow strokes. Even though there are no staccato marking in the melodic line of the first theme and in most of the important accompanimental rhythmic figures, the Beethoven and Borodin Quartets play everything short, and off the string, as if there were dots on the note. However, the Fitzwilliam Quartet interprets all the rhythmic figures as written, without any staccato. Instead they play completely on the string, using a lot of bow as they did in the coda of the first movement. This produces a heavy, thick sound in comparison to the decisive and brutal articulation that is achieved by the other quartets (Example 8.1). One striking aspect of the Borodin Quartet‘s recording of the movement is heard at the return of the scherzo section in measure 154, which is marked piano for the first time in the movement. The Borodin Quartet‘s violinists choose to play this quiet version of the melodic line without vibrato, which creates a pure, almost non-emotional sound. This stark color change creates a remarkable contrast with the previous and subsequent sections as well as makes the recording stand out from the other two (Example 8.2).

Example 8.1 Movement 3, opening section (mm.13-24)

Example 8.2 Movement 3, return of the opening theme (mm.152-162)

Fourth Movement

TABLE 12 Comparison of the Tempo, Fourth Movement Beethoven Quartet Borodin Quartet Fitzwilliam Quartet 4th movement (♩=80) 5:10 (♩=58) 5:49 (♩=52) 5:18 (♩=64)

The suggested tempo marking of the fourth movement is ♩=80. All three quartets take a much slower tempo than this; the Borodin Quartet sets a tempo at♩=52, the Beethoven Quartet’s tempo is♩=58, and the Fitzwilliam Quartet chooses ♩=64. Each quartet chose a slower tempo to emphasize a heavy, grieving mood of the theme. The similarity ends there as each ensemble uses different articulation for the passacaglia theme. The Beethoven and Fitzwilliam Quartets start the theme with a heavy attack, producing a strong opening to the lines. On the other hand, the Borodin Quartet’s theme begins without any accent and grows the intensity within the first dotted half note. After the entrance of the

sustained C# note, a dotted eighth note followed by a sixteenth-note rhythmic figure is played almost without separation by the Fitzwilliam Quartet while the other two Quartets articulate clearly. The Fitzwilliam Quartet plays the whole theme without any articulation except a strong attack on the first note and the marked staccato sixteenth note in measure 4, and emphasizes the entire musical line of the theme (Example 9.1).

Example 9.1 Movement 4, opening passacaglia theme (mm.1-5) Beethoven Quartet

Borodin Quartet

Fitzwilliam Quartet

Even with these slightly different approaches of articulation, it is notable that each quartet derives the core of the passacaglia theme’s sound from the cello. The powerful domination of the lowest instrument within the quartet texture creates a thicker and darker sound. Each quartet also creates a similar phrase structure for the opening theme, with an emphasis on the E in measure 3 and then the B# in measure 5. The Beethoven Quartet’s articulation for the theme has the most distinct separation, but in the last statement of the theme, carried by the viola, the Beethoven Quartet chooses to take out the separations, creating a larger contrast within the movement that in turn emphasizes the hesitating and tiring ending of the movement. One other aspect of the movement that is important to note is the first violin’s recitatives after the first and second statements of the passacaglia theme. The recitatives within all three recordings are performed in a sensitive and beautiful style. However, the first violinist of the Beethoven Quartet makes the second recitative very exceptional by using glissandi and a large amount of narrow vibrato, creating a dramatic contrast with the solemn passacaglia theme and also making a difference with the previous recitative (Example 9.2).

Example 9.2 Movement 4, second recitative of the first violin (mm.16-28), Beethoven Quartet

Fifth Movement

TABLE 13 Comparison of the Tempo, Fifth Movement Beethoven Quartet Borodin Quartet Fitzwilliam Quartet 5th movement (♩.=100) 9:06 (♩.=98) 10:31 (♩.=90) 10:02 (♩.=100)

The most remarkable aspect in the fifth movement is Shostakovich‘s use of material from the previous movements to create a dramatic and conclusive end to the quartet. The three quartet recordings emphasize these quotations in many different ways. A reminiscence of the first theme from the first movement is heard in measure 139. But Shostakovich does not directly quote the theme; instead he puts the accompanimental figure from the opening of the piece in the three upper instruments and gives an inverted version of the theme to the cello. The Fitzwilliam and Borodin Quartets interpret this as an obvious return of the first movement material, and so use short articulations that create a cheerful, delightful mood exactly like the beginning of the piece. The Beethoven Quartet, however, obscures the connection with the first movement material and so underplays the relationship by using a comparatively long bow stroke on the staccato notes and a dark tone color that makes the thematic recurrence ambiguous and uncertain (Example 10.1).

Example 10.1 Movement 5, return of the first theme from the first movement (mm.136-142)

The second thematic recurrence occurs in measure 246. The tragic passacaglia theme of the fourth movement reappears in the two lower instruments, building to the culmination of the

piece with its dissonant, aggressive accompaniment. Even though there is a marked Meno mosso in the score, the Beethoven Quartet maintains tempo, approximately played at ♩.=94, so that the passacaglia theme is now played much faster than the original statements in the fourth movement, with its forward motion. On the contrary, the Borodin and Fitzwilliam Quartets take the Meno mosso marking seriously, take a huge ritardando at one measure before the Meno mosso, and pull back the tempo almost to the original tempo of the passacaglia theme. The theme is now played at ♩ =60 by both quartets. Because of the slow tempo, the music sounds like it obviously returns to the previous movement and the extremely sustained, emphasized accents stubbornly refuse to go back to the original tempo, creating a dramatic climax (Example 10.2).

Example 10.2 Movement 5, return of the passacaglia theme from the 4th movement (mm.242-247)

All three Quartets seem to have a similar idea concerning the ending of the movement. Each ensemble‘s first violin uses hesitation to create a sense of delay during the last section of the movement. The three other instruments sustain an F major triad chord and create a sense of resonance through the use of a small amount of vibrato. Even though there is no diminuendo marked on the first violin part at the end of the movement, all three quartet recordings insert one so that the last three pizzicatos become almost inaudible as they die away (Example 10.3).

Example 10.3 Movement 5, First violin‘s part in the coda (mm.352-end)

CONCLUSION

Shostakovich wrote his String Quartet No.3 in F major, Op.73 in 1946 at the age of forty, immediately following the Second World War and not long after the completion of his Ninth Symphony. It is in five movements as in both the Eighth and Ninth Symphonies which were composed in the same period, and dedicated to the members of the Beethoven Quartet who gave the premiere in Malyi Hall of the Moscow Conservatory on December 16 in 1946. The Third Quartet is a large, symphonic work and the longest of his fifteen quartets. It was also the first quartet in which Shostakovich chose to combine movements without a pause between them. This idea of continuous sound and connected movements became one of the frequently used techniques of the composer to unify his quartets. Besides this, the third quartet contains many of Shostakovich‘s compositional characteristics, including thematic unification and elaboration between the movements, the use of the modified form principle, the use of scherzo and passacaglia movements, the use of semitones and tritones to create harmonic tension, and the employment of a violent fugue and dissonant canons to create climactic textures. Valentin Berlinsky, the cellist of the Borodin Quartet, says, ―When musicians perform a work, that is its second birth. A work is born again everytime it is performed.‖73 Compared to the Schoenberg or Bartók string quartets where nearly everything is written down in detail by the composers, there is much detail that Shostakovich omitted in his scores. Therefore, the interpretational issues should be considered carefully in order to play this quartet. As shown in the comparisons in Chapter 4, there might be many different interpretations for the Third Quartet. However, what makes these three recordings so outstanding is not only their intelligent interpretations and expression but also the great unity in phrasing, articulations, and tone quality. According to Fay, the Third Quartet is one of the compositions with which Shostakovich was most pleased.74 It shows Shostakovich in his absolute mastery as a chamber music composer, skillfully deploying the string quartet to convey his entirely distinctive musical personality. Fyodor Druzhinin, who replaced Vadim Borisovsky as violist of the Beethoven Quartet, believed, ―People who lived in Shostakovich‘s epoch have no need to dig in the archives

73 Edith Eisler, 21st Century String Quartets, Vol.1 (San Anselmo, CA: String Letter Publishing, 2000), 59. 74 Laurel Fay, Shostakovich: A Life (New York: Oxford University Press, 2000), 151.

or to marvel at the evidence of repressions and executions and murders. It is all there in his music. Following the best traditions of Russian art, the murky and ugly side of terror, repression and suffering lead us finally to the tragic apotheosis of the Fifth Symphony‘s finale and to the mysterious transformation into eternal light and conciliation in the Third Quartet.‖75 This quartet was composed in a historically unstable period, right after the end of the Second World War and before the beginning of the Cold War. Shostakovich was conflicted and tormented about war, socialism, and his native country‘s ideals, and this conflict shows in the complicated counterpoint of the first movement‘s development, the violent and aggressive rhythms and highly chromatic melodies in the middle movements, and in the mournful passacaglia theme of the fourth movement. It is the last movement that poses ―The eternal question-Why? And for what?‖. Whether Shostakovich found an answer to that question or not in the composing of this quartet will never be known, but the mysterious and hopeful ending of this piece shows his optimistic attempt to see past the struggles of his own life.

75 David Epstein, Program Notes for The Complete Cycle of Shostakovich String Quartets Part 1 of Miami String Quartet, 2006.

BIBLIOGRAPHY

Books

Eisler, Edith. 21st-Century String Quartets, Vol.2. San Anselmo, CA: String Letter Pub, 2000.

Fanning, David. Shostakovich Studies. Cambridge: Cambridge University Press, 1995.

Fairclough, Pauline, and David Fanning. The Cambridge Companion to Shostakovich. Cambridge: Cambridge University Press, 2008.

Fay, Laurel. Shostakovich: A Life. New York: Oxford University Press, 2000.

Griffiths, Paul. The String Quartet. New York, N.Y.: Thames and Hudson, 1983.

Hulme, Derek C. Dmitri Shostakovich: A Catalogue, Bibliography, and Discography. Oxford: Clarendon Press, 1991.

Kay, Norman. Shostakovich. London: Oxford University Press, 1971.

Kuhn, Judith. ―The string quartets: in dialogue with form and tradition.‖ In The Cambridge Companion to Shostakovich, ed. Pauline Fairclough and David Fanning, 38-69, Cambridge: Cambridge University Press, 2008.

______. Shostakovich in Dialogue, Form, Imagery and Ideas in Quartets 1-7, England: Ashgate Publishing Limited, 2010.

MacDonald, Ian. The New Shostakovich. London: Fourth Estate, 1990.

McCreless, Patrick. ―The String Quartets of Dmitri Shostakovich.‖ In Intimate Voices: The Twentieth-Century String Quartet, Vol.2, ed. Evan Jones, 3-40, Rochester, NY: University of Rochester Press, 2009.

Mishra, Michael. A Shostakovich Companion. Westport, Conn: Praeger, 2008.

Page, Athol. Playing String Quartets. Boston: B. Humphries, 1965.

Randel, Don Michael. The Harvard Dictionary of Music. Cambridge, Mass: Belknap Press of Harvard University Press, 2003.

Roseberry, Eric. Ideology, Style, Content, and Thematic Process in the Symphonies, Cello Concertos, and String Quartets of Shostakovich. Outstanding dissertations in music from British universities. New York: Garland Pub, 1989.

Rowland, Christopher. ―Interpreting the String Quartets.‖ In Shostakovich: the Man and his Music, ed. Christopher Norris, London: Lawrence and Wishart, 1982.

Shostakovich, Dmitri Dmitrievich, and Solomon Volkov. Testimony: The Memoirs of Dmitri Shostakovich. New York: Harper & Row, 1979.

Wilson, Elizabeth. Shostakovich: A Life Remembered. Princeton, New Jersey: Princeton University Press, 1995.

Dissertation/Theses

Dyer, Paul Eugene. ―Cyclic Techniques in the String Quartets of Dmitri Shostakovich.‖ Ph.D. diss., Florida State University, 1977.

Watson, Jada. ―Aspects of the ‗Jewish‘ Folk Idiom in Dmitri Shostakovich‘s String Quartet No.4, Op.83 (1949).‖ M. A. thesis, University of Ottawa, 2008.

Periodicals

Gow, David. ―Shostakovich‘s ‗War‘ Symphonies.‖ The Musical Times, Vol. 105 (March 1964): 191-193.

Mason, Colin. ―Form in Shostakovich‘s Quartets.‖ The Musical Times, Vol. 103 (August 1962): 531-533.

O‘Loughlin, Niall. ―Shostakovich‘s String Quartets.‖ Tempo, No. 87 (Winter 1968): 9-16.

______. ―Shostakovich‘s String Quartets.‖ The Musical Times, Vol. 87 (October 1974): 744-746.

Slonimsky, Nicolas. ―Dmitri Dmitrievitch Shostakovich; With Scores and Lists of Works.‖ Musical Quarterly, Vol. 28, No.4: 415-444.

Internet Sites

―Biography.‖ In the Fitzwilliam Quartet website, http://www.fitzwillamquartet.org (accessed May 31, 2010).

Epstein, David. ―Program notes.‖ The Complete Cycle of Shostakovich’s String Quartets Part 1, http://www.chambermusicnorthwest.org (accessed May 31, 2010).

Fanning, David and Laurel Fay. "Shostakovich, Dmitry." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010).

Potter, Tully. "Beethoven Quartet." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010).

______. "Borodin Quartet." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010).

―Repertoire and Recordings.‖ In the Borodin Quartet website, http://www.borodinquartet.com (accessed May 31, 2010).

Scribner, Bart. ―Shostakovich States: Masters are playing.‖ In Music Review La Folia, http://www.lafolia.com (accessed May 31, 2010).

―Shostakovich and the Quartet.‖ In the Borodin Quartet website, http://www.borodinquartet.com (accessed May 31, 2010).

Shostakovich, Dmitry." In The Oxford Dictionary of Music, 2nd ed. rev., ed. Michael Kennedy. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010).

Tucker, G. M. "Sonata rondo form." In The Oxford Companion to Music, ed. Alison Latham. Oxford Music Online, http://www.oxfordmusiconline.com (accessed May 31, 2010).

Scores

Shostakovich, Dmitri Dmitrievich. Kvartet no. 3 dli a dvukh skripok, alʹta, i violoncheli, soch. 73. Moskva: DSCH, 2001.

______. String Quartet No.5 in B-flat Major, Op.92. London: E. Eulenburg, 1970.

______. String Quartet No.6 in G Major, Op.101. London: E. Eulenburg, 1970.

______. String Quartet No.7in F# Minor, Op.108. London: E. Eulenburg, 1970.

______. String Quartet No.8 in C Minor, Op. 110. London: E. Eulenberg, 1970.

______. String Quartet No.10 in A-flat Major, Op.118. London: Music Rara, 1966.

______. String Quartet No.11 in F Minor, Op.122. Toronto: Leeds Music, 1967.

______. String Quartets Volume 1. New York: Edwin F. Kalmus, 1960.

______. Symphonie Nr.8, Op.65. Breitkopf und H rtels Partitur-Bibliothek, Nr. 3605. Wiesbaden: Breitkopf H rtel, 1947.

______. Symphonie No.9, Op.70. Leipzig: Breitkopf & Hartel, 1900s.

______. Trio r , Op , f r ioline, Violoncello und Klavier. Sikmuz. Hamburg: H. Sikorski, 1990s.

Discography

Shostakovich, Dmitri and Pyotr Il‘yich Tchaikovsky. Piano Trios. Gidon Kremer, Violin; Martha Argerich, Piano; Mischa Maisky, Cello. Deutsche Grammophon, CD, 1999.

Shostakovich, Dmitri. String Quartet Nos.2, 3, 7, 8, and 12. Borodin String Quartet. EMI Records Ltd. / Virgin Classics, CD, 2000.

______. Symphonies No.5 and No.9. Royal Concertgebouw Orchestra. Decca, CD, 2000.

______. Symphony No.8. London Symphony Orchestra. EMI Classics, CD, 2008.

______. The Complete String Quartets. Emerson String Quartet. Deutsche Grammophon, CD, 2000.

______. The Complete String Quartets, Vol.1. The Manhattan String Quartet. ESS.A.Y. Recordings 1007, CD, 1990.

______. The String Quartets. Fitzwilliam String Quartet. Decca Record Company, CD, 1977-1978.

______. The 15 String Quartets, Beethoven String Quartet. Doremi Records, CD, 2006.

Compact Disc Liner Notes

George, Alan. Liner notes. Shostakovich, The String Quartets. Fitzwilliam String Quartet. Decca Record Company, CD, 1977-1978.

Robinson, Harlow. Liner notes. Dmitri Shostakovich, The Complete String Quartets, Vol.1. The Manhattan String Quartet. ESS.A.Y Recordings, CD, 1990.

BIOGRAPHICAL SKETCH

With concert appearances throughout the United States, Costa Rica, Japan, and South Korea, violinist Rang Hee Kim enjoys an active performing career as both chamber musician and soloist. Born in Seoul, South Korea, she started to play violin at the age of six. She has appeared as a soloist with the Yon Sei University Symphony Orchestra, Won-Ju Philharmonic Orchestra, Won-Ju Chamber Orchestra, and the Florida State University Symphony Orchestra. Also, she has performed in a number of music festivals including the Kumamoto Music Festival, International Summer Academy Mozarteum, Music Academy of the West in Santa Barbara, Kent Blossom Music Festival, and Aspen Music Festival as a fellowship recipient. As an avid chamber musician, Rang Hee was a leader of the Dilettanto Musica Ensemble, the first violinist of the Eppes String Quartet, and a founding member of Trio Dell’arte. She gave numerous recitals as part of the Promising Artist of the 21st century (San Jose, Costa Rica), Friday Musical Series (Jacksonville, FL), FSU Faculty Chamber Music Series ‗KALEIDOSCOPE‘ (Tallahassee, FL), The Institute for Advanced String Quartet (Severance Hall in Cleveland, OH), Young San Artist Series (Seoul, South Korea), and Texas Music Festival (Houston, TX). Rang Hee served as acting concertmaster of the Won-Ju Philharmonic Orchestra, guest concertmaster of the Seoul Classical Players, and as concertmaster of the Yon Sei University Symphony Orchestra in Korea. Since she has come to the United States in 2004, she has played in the Rochester Philharmonic Orchestra for two years, served as concertmaster of the Kent Blossom Festival Orchestra and the Florida State University Symphony Orchestra, and currently holds associate concertmaster positions of the Tallahassee, Pensacola, and Northwest Florida Symphony Orchestras. Rang Hee is also a devoted pedagogue, having given several master classes at Valdosta State University (Valdosta, GA), the National Superior Institute of Music (Costa Rica), the Bach Institute of Music (Costa Rica), and the Florida State University (Tallahassee, FL) as well as maintaining a large private violin studio. After receiving Bachelor and Master of Music degrees from Yon Sei University in Korea (2001, studies with Jae Hyun Lee) where she wrote her M.M. Thesis on ―A Study on J. Brahms‘ Violin Sonatas‖, Rang Hee earned another Master of Music degree and Orchestral Studies Diploma at the Eastman School of Music (2006, studies with Oleh Krysa), and a Doctor of Music degree at the Florida State University (2010, studies with Beth Newdome).