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Short overview of quartet.
Dedicated to the memory of the victims of fascism and war.
Quartet № 8 is a five-part cycle, all parts go attaca.
1. Largo
2. Allegro molto
3. Allegretto
4. Largo
5. Largo
Quartet laced with monogram theme (theme is DSCH), other quotes
are presented:
- The theme of the introduction to the First Symphony (19th bar)
- The theme of the finale of the Piano Trio in E Minor
- The main theme of the First Cello Concerto (III part, from measure 140)
- The theme from the opera " Lady Macbeth of the Mtsensk District "
- The revolutionary song "Exhausted by the hardships of prison" (figure 54)
Part I (Largo, C minor) is written in free form of prelude, using techniques of polyphonic writing (especially fugato).
Part II (Allegro molto, G Sharp Minor) - "Devilish Toccata" on three themes: 1th- toccata's theme (figure 11), 2nd - monogram theme, reminiscent of the beginning Quartet (figure 17), 3th ironic theme from the final of Piano trio (figure 21).
Part III (Allegretto, G Minor) - tragic waltz. Several themes are alternated on the principle of Rondo. It opens with violin's cadenza within a considerable register. The first waltz theme (refrain) is built on the basic theme of the quartet. The second theme, with sweeping dance pattern (figure 39). The third theme (figure 42) is built on a complex combination of 4\3-beats patterns. Another subject (figure 44) appears in cello’s high register, followed with cadence of viola and return of all three themes, themes are shortened (reprise reduced).
Part IV (Largo, C Sharp Minor) in complex ternary form. First theme - is a transformed theme of the First Cello Concerto. Second theme - the song at a slow pace, the combination of two thematic material (song "Exhausted by the hardships of prison" and lyrical Catherine theme from Act IV of the opera " Lady Macbeth of the Mtsensk District " - "Sergei! Miliy moy..."). Reprise reduced, because its function is transferred to the next part.
Part V (Largo, C minor) - a four-part fugue, built on the main theme of the quartet, in slow motion, with a severe character. It is a new version of the first part, there the same thematism was presented more freely. Archway to the first part, the end of cycle.
Fourth movement.
Largo cis
Fourth movement opens with theme of first cello concerto. Let's have a look at the genesis of it.
First time material of this theme appears in music for movie "Young Guard" in episode "Death of Heroes" (example 1) in slow tempo, in character of funeral march.
Example 1
This music is written in 1948, at the same year Shostakovich wrote "Antiformalist paradise" a satirical answer to the resolution of the Politburo of the CPSU (b) regarding the opera "Great Friendship" V. Muradeli on February 10, 1948. In this oratorio he clearly quote georgian song "Suliko" (example 2) regarding Stalin (Suliko is a favorite song of him).
Example 2
For funeral march Shostakovich took first minor third from very beginning of song (Miloi ia mogilu uskal (I looked for grave of my dear) and first tone of second phrase (No naiti ee ne legko (Not easy to find it).
He made another a very clear quote of Suliko at the beginning of finale of concert (eighth bar after figure 63).
The theme of cello concert appears in third movement in bar 140 (figure 43), theme is almost intact. In fourth movement we see synthesis of funeral march from "Young Guard" and theme from cello concert (example 3).
In first and second bars we see eights what comes from orchestra part of cello concert.
From fourth to sixth bars theme comes from funeral march.
First theme runs in tonal ambiguity. Chords in lower voices could be taken as some double dominants with missed tones, in chromatic cis.
First violin has an independent voice.
First material is presented in form of period within 1-21 measures. Period include two phrases, first three measures of first phrase are skipped. Second phrase began in measure № 10.
This way of dividing explained by possible Fis in 10th measure till 21th. In bars № 19-20 we see quite strong conclusion in Fis. But both phrases are based on the same material. To support this point of view I want to notice, in reprise (figure 63), Shostakovich puts another material, between two conductings of this phrase.
This Fis could be a first sign of coming Catherine’s theme (in figure 62)
Example 3
Сonnecting theme, performed by first violin solo, starts in bar № 22. example 4. It is based on DSCH-motif. It is basically continued from ending (transmission) of previous movement. It sounds from G double sharp instead of D and it still does not have its last tone.
Let's have a look at the genesis of this figure.
Example 4
The first time monogram DSCH was used in the First Violin Concerto (written 1948, performed 1955). Another time it appears in 3th movement of 10th symphony. And it became main theme of 8th quartet (first and last movements are based on DSCH, it is also linking the movements within whole cycle).
In that specific case, monogram is in the function of connection between first and second periods.
DSCH-motif has its own development during the fourth movement:
- incomplete in measures 22-24 starts at D
- all four tones at E in measures 72-75
- and in main position at the end of the movement.
Next musical theme starts in figure 54 (upbeat to second bar). This theme is based on musical material of revolutionary song "Exhausted by the hardships of prison" (example 5), transformed in such a way to represent all twelve semitones
of chromatic cis.
Example 5
The main theme of the song does not appear this time, it will be presented in figure 58. Here we can see only first interval (gis-cis), it also useful to define the main tonality of movement.
Also they have in common:
- duration (33 measures)
-ending motif (D-S-C) examples 6,7
- rhythmic structures
- in both cases, conclusions have the same rhythmic structure and (examples 6,7)
Example 6
Example 7
In measures 52-53 we see the local culmination clearly presented by the excursion to Fis.
First violin plays contrapunct for lower voices. First violin also used for harmonisation, for example in measure №53 it plays major third of Fis.
Reduced reprise comes In figure 57. That is the end of first section of movement. It was presented in ternary form A-B-A.
Сonnecting theme (DSCH) comes in measure №72 till № 75, all four tones are presented.
In figure 58 the quote of song "Exhausted by the hardships of prison" is performed by first violin.
It is presented in form of period devided by two phrases, in measure №90, second phrase is extended by additional cadence based on subdominant.
Second violin plays contrapunct, with periodical function of harmonisation.
Cello and viola stays on cis with exception of conclusion of second phrase.
From measure №108 till №133 slightly preparation of Katerin's arioso from "Lady Macbeth of the Mtsensk District"(example 10) in figure 62.
Example 10.
During this preparation, Schostakovich clearly pointed the tonality (Fis). in measure 130 we see full Fis triad (example 9). That is traditional subdominant in the golden ratio point (measure №117) cis could be taken as dominant for fis (or Fis) next measure the third comes. and D natural, slightly shows fis (example 8)
Example 8 Example 9.
The theme of Katerina's arioso performed by cello, viola holds cis, violins are playing harmonisation.
Opera "Lady Macbeth of the Mtsensk District" was dedicated to first wife of Shostakovich, so this theme seems to be a reminiscent of her.
The theme of Katerina's arioso presented in form of period. Period is divided by two phrases, in measure №144 (half cadence). Second phrase starts in Cis and conclude in Fis, expanded by the repetition of conclusion. This is the end of middle section, it was presented in binary form (B-C)
Fis plays role of dominant for cis, exactly like in measure №20.
Then in figure 63 is reduced reprise till measure №179. This reprise is the last section of complex ternary form.
Movement ends with DSCH-motif in its main position, it is a link to next movement.
Conclusion.
Fifties, early sixties is a very hard time for Shostakovich, in 1954 died his first beloved wife, second marriage was not successful, he was forced to became a member of CPSU, his left hand began to ache.
According all discovered information, this quartet has nothing in common with victims of fascism and war. Obviously he made this dedication to be able pass a censorship.
This quartet is autobiographical, it is clear from numerous self quotation and DSCH-motif, what linked all the movements.
The way how first theme of fourth movement is presented, shows us what Shostakovich was scared and probably in suicidal mood.
What was he so scared of? I think the answer is Stalin, not as a person anymore, but as a symbol of a fascist state.
He shows us that he is a prisoner, by linking himself with theme of "Exhausted by the hardships of prison" and only one light part in movement, is Katherine's arioso, likely, regarding his first wife.
He puts this theme in colden ratio point, it shows how much important she was for him.
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