Dmitri Shostakovich's String Quartet No. 3 in F Major, Op. 73: a Performer's Analysis
Electronic Theses, Treatises and Dissertations The Graduate School
2010
Dmitri Shostakovich's String Quartet No. 3 in F Major, Op. 73: A Performer's Analysis
Rang Hee Kim
Follow this and additional works at the FSU Digital Library. For more information, please contact lib-ir@fsu.edu THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
DMITRI SHOSTAKOVICH‘S STRING QUARTET NO. 3 IN F MAJOR, OP. 73:
A PERFORMER‘S ANALYSIS
By
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. ii This treatise is dedicated to the memory of my teacher, Beth Newdome, whose strength of will has been a tremendous inspiration. iii 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. iv 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 vLIST 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 vi 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 vii 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 viii 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 ix 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. xINTRODUCTION
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.
1CHAPTER 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.
2authority, 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, (accessed
May 25, 2010).
3symphonic 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.
4Between 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.
5Communist 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.
6display 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
No.1, Op.4922 Moderato C Major None/
Quartet/Date Key/Duration Dedication/Premiere Movements
14‘-16‘
(1938) Glazunov Quartet23 (1938) Moderato
Allegro molto
Allegro
No.2, Op.68 A Major Vissarion Shebalin
Overture: Moderato con moto
(1944) (composer)/ Recitative and Romance:
32‘
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