Again I’m unsure what purpose the waltz-like nature of the 3rd movement serves. Download and print in PDF or MIDI free sheet music for String Quartet No. Now the fear inherent in this piece may be the fear Shostakovich has to live with daily in the wake of an oppressive Soviet government. “The Rhetoric of Reference; or, Shostakovich’s Ghost Quartet.” Academia.edu — Share Research, www.academia.edu/630315/ The_Rhetoric_of_Reference_or_Shostakovichs_Ghost_Quartet. Dmitri Shostakovich, a composer, and pianist considered to be one of the most important composers of the 20th century, was born on September 25, 1906, in Saint Petersburg, Russia, and died on August 9, 1975, in Moscow at the age of 68 from lung cancer. Certainly Jews were targets of Nazi fascism. Bach mainly composed Church music, so the impression is that the setting is now a Church. Dmitri Shostakovich, 1906-1975 String Quartet No. Goes back to waltz-like part. 8 by Dmitry Shostakovich (1906 -75) was composed in July 1960 (in just three days). One disputed report claimed that Shostakovich intended to commit suicide at the completion of this piece. From the first measure, the DSCH motif is introduced in the cello. Finally, the metaphor for moving from freedom to restraint in how each section is structure I think clearly expresses that the quartet was meant to be autobiographical. 4th entry Highly popular, it is performed more frequently than all of the other fourteen together. I am unsure whether those reoccurring 3 sounds are someone knocking on the door, or guns representing more death by a firing squad? 8th entry In light of this, when I listen to the first and the 5th movements again, it’s obvious that they are closely intertwined and related. From the beginning of the second movement, one violin seems to have the main part in this new fast paced music. One thing I especially liked in the Borodin recording was the morendo occurring at the end of the 5th movement. Also I noticed that the Jewish melody line is almost exactly the same as that of Shostakovich’s own Piano trio Op.67 (4th movement). Chromatic scales with very high notes in violins are played very quietly as opposed to the first movement. Like I wrote in a previous entry, this motif makes the piece personal, but some parts of the string quartet do not seem to be pertain to Dmitri Shostakovich alone. Sudden drop in volume, followed by a crescendo. For the final entry, I decided to listen to a different interpretation of the quartet. It sounds like a literal and physical attack (mental and physical). Sounds like mayhem, especially due to the pace, and very violent sound of notes. 2.The motif is used in every movement of this quartet, and is the basis of the faster theme of the third movement. With this in mind, I discovered that the first movement of the quartet is comprised of four main sections. Relate back to historical context of the time and the composer Also interesting is that Bach used a similar BACH motif in many of his pieces. The 5th movement seems almost a continuation of the 1st movement, especially since the tempo of both is Largo. This was originally released on L'Ousieau Lyre (sp). — similarly to the BACH motif “Bb A C B natural” used by the German composer Johann Sebastian Bach (1685–1750) centuries before him. Though his life was marred by tragedy, music was frequently Shostakovich’s savior. Again there is no break from 4th to 5th movement. The arrangement of the quartet for string orchestra that is performed at this week's concerts was made by the Russian conductor and violist Rudolf Barhsai and approved by Shostakovich. In the 4th movement, the mood seems very tense and hesitant at the same time. The 3 loud bursts definitely sound like someone knocking on the door. If the 8th string quartet is to be viewed as an autobiographical work, Shostakovich must include these Jewish melodies show the extent to which Shostakovich identifies with not only Jewish people, but the plight of an oppressed people. The third movement is definitely waltz-like, but waltzes are supposed to be happy joyous, yet this sounds very lugubrious. Shostakovich was planning this quartet as his final work when he wrote to his Jewish friend Isaak Glikman: “I reflected that if I die some day then it’s hardly likely anyone will write a work dedicated to my memory. Interestingly the Jewish melody comes into the middle of the 2nd movement. Stalin killed millions upon millions of people to quell his opposition. Joining the Communist Party allowed him to resume teaching at the Leningrad Conservatory and freed some of his works from exile to be performed again, including the 4th symphony and Lady Macbeth. Interestingly, the chromatic scales in solo viola are mostly descending. 8 in C minor, Op. 8in C minor, opus 110, the most loved of all Shostakovich's quartets, has a duration of about twenty minutes. Again back to the 4 original notes. The quartet has five linked movements, marked: After getting a better understanding of the context surrounding this piece, the first movement really seems to be personal: how Shostakovich life’s was influenced by the totalitarian regime. This is well reflected in the second movement, which certainly sounds like a violent war erupting. google_ad_slot = "3559092009"; The String Quartet no. In the second movement for example, the melody sounds distinctly Jewish. Guitarist, arranger and rapidly-emerging internet-superhero Connor Gallagher has been delighting us with metal Shostakovich for a few months now. I will now listen to the piece and see how my perception changes in knowledge of this fact. The cello sounds like someone is wailing, but the violins keep pounding the same note, which closely resembles the sound of bullets flying. This four-note pattern of “D Eb C B” spells out the composer's initials in the German system — D. Sch. After getting a better understanding of the context surrounding this piece, the first movement really seems to be personal: how Shostakovich life’s was influenced by the totalitarian regime. One thing I especially liked in the Borodin recording was the morendo occurring at the end of the 5th movement. By repeating the same 4 note theme (DSCH) is employing counterpoint, a technique common in the compositions of Bach. In fact, performers decided to cancel the performance of his 4th symphony because they believed it would result in either his death or theirs. 8 was made by the second violinist of the Beethoven Quartet, the chamber ensemble that played the premiere performance of the piece. Like I wrote in a previous entry, this motif makes the piece personal, but some parts of the string quartet do not seem to be pertain to Dmitri Shostakovich alone. It doesn’t seem to be a reference to the German concentration camps, but instead a reference to the Soviet executions of political dissidents which numbered more than 3 million under Stalin alone. First movement starts off with 4 notes, which are then repeated but in different octaves. Shostakovich composed his 8th string quartet in only three days, July 12–14, 1960. More romantic melody line heard now; sounds almost melancholy, and fearful. When Shostakovich wrote his 8th quartet he believed it would be his musical valediction. While this is a relatively simple pattern, it serves a very important function in the first movement of the quartet. But now it’s back to the 3 loud notes from the start of the 4th movement. In the Borodin recording it was easy to hear individual notes, but in this youtube video all the notes seem “slushed” together. The first movement opens with the DSCH motif – Shostakovich's musical signature. This time, however, as the music under it is less dark — the second violin is playing a somewhat melancholic countermelody as opposed to the previous drone — the interval is changed to a 6th for the descending scale which gives the whole section a more hopeful backdrop (figure 1, right). 3 loud notes heard again. The ending of the 3rd movement is calm and relatively peaceful. The music then progresses to a devilish sound, like something straight out of Hell. This could be somewhat reflective of Shostakovich’s life as his music also had to frequently move from the much more free ideas he wished to create before inevitably being brought back into the constraints created by Stalin and the Communist Party. The 3rd movement again sounds like a waltz, but it has a nightmarish quality to it. In the first movement, there are places where the melody becomes “romantic-like”, where the fear subsides, but it does not last long, and the sad and melancholy melody returns to haunt Shostakovich. It is much more likely that Shostakovich purposefully included this to show the fear and apprehensiveness of KGB agents showing up unannounced at odd hours of the night. Each contains a plethora of counterpoint and sound very similar to Bach’s type of fugue. The music in between the knocks shows the “victim’s” hesitation in opening the door, but since the knocks continue, there is little choice. 110 by Shostakovich, Dmitri arranged by ProdigyBaby555 for Violin, Cello, Viola (String Quartet) It is very interesting to see the transition into the second movement. 7th entry In light of this, when I listen to the first and the 5th movements again, it’s obvious that they are closely intertwined and related. The vibrato certainly adds to this effect. The Eighth Quartet has probably been performed more often than all the rest put together (certainly in the West), and it does indeed provide an ideal introduction to Shostakovich’s music through the medium of the string quartet. Both have a fugal nature, yet I am not entirely sure yet WHY this is so. 8 in C minor, op. The pace of the waltz in the 3rd movement is too rushed. 8 in C minor, Op. Shostakovich: String Quartet No. The melody line keeps repeating; first it sounds romantic but reverts back to general mood of first movement. Moreover the violins create very violent sounds, almost like a massacre. The use of the DSCH motif alone hints at the personal nature of the work, but the way that it is utilized in the quartet to compose and structure the piece around further accentuates this. Shostakovich wrote his String Quartet no. 8 200. by David Fanning. It is vastly different to watch a performance instead of just listening to it. McPherson, Eve. The 6 note rapid succession which should sound like a firing squad is barely audible in the Victoria Conservatory recording. google_ad_height = 60; 9th entry All 4 instruments play together now, with cello deviating occasionally. After this pattern finishes in the 5th movement, the notes are heard directly from the first movement, BUT, they are at a much slower pace. The resource has been created for teachers to work through step by step with students and they will require a full score to be able to understand connections made with the work. Quite a few notes in the 5th movement sound either incorrect or out of tune. google_ad_client = "pub-1174467220610867"; This time, however, the motif is then passed from the first violin to the second violin where it becomes the counter melody (figure 6). Lesser calls the quartets Shostakovich's "pure" music, by way of contrast to the "impurity" of the symphonies and other work, as demanded by the composer's navigation of … The 5th movement is still ambiguous, and I’m not sure what it means. This is sharply in contrast with the rest of the piece. In this case, it is a whole note followed by two half notes that transitions between the first two sections of the piece. String Quartet No. The music in between the knocks shows the “victim’s” hesitation in opening the door, but since the knocks continue, there is little choice. Fetner 2The second movement of Shostakovich's eighth string quartet is highly structured. In the first movement, the vibrato in cello creates a sense of fear and uncertainty. It was a division of London/Decca. 15, and Piano Sonata No. You could even write on the cover: “Dedicated to the memory of the composer of this quartet”. Now in 4th movement, 3 loud notes are repeated intermittently, while the same note is held in background. The ending of the first movement is a decrescendo followed by a very rapid crescendo that leads right into the second movement. 8 (Shostakovich) From Wikipedia, the free encyclopedia The Symphony No. Highly charged Paints an aggressive and brutal picture - a real explosion War-like and intense Mood Main modal for character + texture of movement = 3rd movement of 8th symphony Comparable to a Sherzo and Trio repeated with alterations, or Sonata minus development Inclusion of If so, then the somewhat romantic melody in between is somewhat like Chopin’s funeral march. I am unsure whether those reoccurring 3 sounds are someone knocking on the door, or guns representing more death by a firing squad? No break between the first and second movement. Repetition is key here in the second movement as well. Again there is no break from 4th to 5th movement. If the 8th string quartet is to be viewed as an autobiographical work, Shostakovich must include these Jewish melodies show the extent to which Shostakovich identifies with not only Jewish people, but the plight of an oppressed people. Shostakovich may be addressing either the Soviet Union’s treatment of Jewry or the horrible fate of Jews during the holocaust. It is one of Shostakovich’s greatest masterworks. Ultimately, I liked the recording of the Borodin String Quartet, because I think the piece was played in exactly the manner that Shostakovich intended it to be played. Symphony No. Thus it would make perfect sense that Dmitri Shostakovich considers himself a victim of fascism. The second movement does not end conclusively, and continues right to the 3rd movement. Secret Resistance: An Analysis of Shostakovich's Symphony No. This creates a sense of pulsing motion to contrast the static feeling created by the drone in the viola and cello. When the second violin moves away from playing part of the drone to playing the countermelody, this takes away the 5th from the drone. Chromatic scale in violins sounds creepy and eerie. The music seems to move more as a system of individual lines rather than being organized by the harmonies those lines imply as is common in most earlier classical music. Fifths are very import elements in this movement both for the open quality of the harmony but also in some of the melodic elements. google_color_link = "000000"; The 5th movement is still ambiguous, and I’m not sure what it means. In the second movement for example, the melody sounds distinctly Jewish. In the 4th movement, an interesting visual effect occurs when it appears as if the performers are knocking on their instruments! After this pattern finishes in the 5th movement, the notes are heard directly from the first movement, BUT, they are at a much slower pace. It doesn’t seem to be a reference to the German concentration camps, but instead a reference to the Soviet executions of political dissidents which numbered more than 3 million under Stalin alone. “Shostakovich.” Music Academy Online, www.musicacademyonline.com/composer/biographies.php?bid=133. The vibrato seems artificial, and not in the right style that Shostakovich would have wanted. Shostakovich was consistently at odds with the Soviet government. In the first movement, there are places where the melody becomes “romantic-like”, where the fear subsides, but it does not last long, and the sad and melancholy melody returns to haunt Shostakovich. It is less likely that a firing squad is shooting 3 shots. In the first movement the tempo is slower than in the Borodin String Quartet. 3 loud notes heard again. Shostakovich String Quartet №8 could be described as hopeless. google_color_text = "000000"; For the final entry, I decided to listen to a different interpretation of the quartet. First movement starts off with 4 notes, which are then repeated but in different octaves. The knowledge of this DSCH motif changes my perception greatly, because it makes this particular string quartet very personal to Shostakovich, and very autobiographical. The Allegro Molto Dmitri Shostakovich's String Quartet No. Dmitri Shostakovich, 1906-1975 String Quartet No. Burton-Hill, Clemency. The difference between the 1st and 5th is that the latter employs the 4-3-2-3-1 pattern. The first section (m. 1–27), which works similarly to a canon, is centered around the DSCH motif, effectively Shostakovich’s musical signature.   //-->. 110, 1960. The ending seems slower than the rest of the string quartet, but what does it mean? Each section begins in a very open and expansive manner before slowly drifting together into the ridged constraints of traditional harmonies. These three ideas make up the main components used to compose the piece, but also large sections of Shostakovich’s career. Emotional Analysis: The String Quartet No 8 782 Words 4 Pages MUSICAL ANALYSIS The String Quartet No.8 is a complex, melancholy work written ambiguously after witnessing the ruins of the Dresden bombings while Shostakovich was under Soviet rule, which he did not agree on as he could not express his art properly under media laws. Melody heard previously reappears, and builds in a crescendo with all instruments playing. There, amid the rubble still visible from the Allied bombings during World War II, he was inspired to composed this quartet in remembrance of the victims of both Hitler and Stalin. 6th entry Chromatic scales are mostly descending in cello now, but it is not a solo, and almost secondary. The main part moves from violins to cello to the viola. www.musicacademyonline.com/composer/biographies.php?bid=133. The fourth (m. 105, beat 3 — end) and final section returns to the structure of the first and reprises a lot of the material that was previously played. The cello picks up the violent melody where the violins left off, why? All 4 instruments play together now, with cello deviating occasionally. The sound is grim, and not very happy. After today’s discussion, I learned that the 4 note motif that is repeated at the very start is d, e flat, c, b, which when translated to German music notation yields D, Es, C, H, Dmitri Shostakovich’s initials: D. Sch. Shostakovich was never a fan of the government that constantly instilled fear not only in himself, but also in the entire Russian population. Thus there is little doubt remaining that Shostakovich considers himself a victim of fascism. It is especially interesting that this movement is quieter than the previous movement, which might show the level of secrecy and anonymity upheld during executions in Russia. This realization led me to start a more careful dissection of the lines themselves and the motifs present in them. 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