Movement II Overall Comment

Movement II– overall comment

Though this is a complete contrast to the first movement in so many ways, there are also some links e.g. ongoing use of the DSCH motif, further use of quotations and continued use of the flattened supertonic.

STRUCTURE: In this movement, there are two clear sections, A and B. This could be compared to a Scherzo and Trio repeated with alterations, or even perhaps sonata form minus the development. However, the movement ends in a different key to the opening, and this feels incomplete, especially when it is compared to more conventional structures.It also ends very abruptly; when we expect the main theme to return, the composer moves on to the third movement instead.

Both sections are repeated with changes, so the overall plan is: A, B, A1, B1. The structure has therefore been analysed according to the following outline:

Section A / Section B / Section A1 / Section B1
Bars 1 - 125 / Bars 126-232 / Bars 233-296 / Bars 297-349

MOOD:The listener is immediately thrown into a movement which has been described as war-like and intense. Certainly, it is highly charged, painting an aggressive and brutal picture - a real explosion, straight from the start. This work stirred up powerful feelings in Shostakovich, evident in the intensity of the perpetual rhythmic movement and violent chords, together with the scoring and inclusion of powerful self–quotations.It is interesting to know that more than one musician has been inspired to arrange this piece for full orchestra.

TEXTURES:It is the third movement of the 8th symphony that has emerged as the main model for the character and texture of this movement; and as in the third movement of his third string quartet (also G# minor), this movement pushes the quartet medium to its limit. Once again, the manipulation of motifs is central to the texture, and the writing includes powerful thematic sections in addition to contrapuntal passages and highly charged non-thematic work.

THEMES:The choice of themes in this movement is highly personalized and symbolic. These include:

• The DSCH motif - his musical signature motif which seems to be making the connection between the composer andthe “Victims of Fascism and War” a highly personal one;
• An allusion to his 8th symphony – a work which was blacklisted for nearly a decade by the soviet union’s cultural repressions;
• The self quotation from his2nd piano trio, another war –time piece which appeared at the same time as revelations about the Nazi concentration camps;
• The inclusion of Jewish dance themes and scales (i.e. the #2 and ¨4)
• Much chromatic work, and the manipulation of ideas based on semitones. Some of this is actually non-thematic as the work loses melodic shape at times. Perhaps this was intentional; after all, the composer is portraying a subject based on anarchy, warand dehumanization.

The quotations in this movement are easily identified, and have been acknowledged as politically coded messages. Theallusion to the 8th symphony is significant; using a language of musical codes, this reflected a time of much personal rejection for the composer. As the music builds up in intensity, the DSCH motif is much faster than previously heard, and the quote from the finale of the piano trio is significant as this in itself was a theme based on Jewish dance melodies. The composer actually wrote the finale of the trio after learning that the Jews were forced to dance on their communal grave before they were shot.

TONALITY: Section A – G# minor; Section B – C minor. The tonal conflict between G# minor and C minor characterises the movement. (Note the interval of the diminished 4th here again!). In terms of tonality, perhaps the main thing to note is that the movement ends in a key other than the tonic.

HARMONY:In comparison to the almost static harmonic foundation of the first movement, the harmony here is not as straightforward.However, it is appropriate to the intention of the movement – in this case – to release the pent up energy in a stream of barely controllable violence. Note particularly theuse of the flattened supertonic and sharpened submediant, the use of neighbour note chords, and chromatic work.

MOVEMENT 2: Allegro Molto
Structure: A B A1 B1
SECTION / BARS / THEMES / COMMENTS
Section A
G# minor / 1-125 / figure a1 =

figure a2 =

DSCH motif
Allusion to: Symphony no.8, third movement / This continues without a break from movement 1 via the held G# / A¨ (i.e. as A¨, this note is the submediant of C minor in movement I; as G#, it is the tonic of G# minor in movement II).
TEMPO: The pace is Allegro Molto - a tremendous contrast to movement I; actually four times as fast! (One in a bar).
MOOD: Violent, intense. This is an opening section which craves release.
TEXTURE: It is the third movement of the 8th symphony that emerges as the main model for the character and texture of this movement. Here, the first violin has the theme supported by isolated sfff chords in the other three instruments. From Fig. 14, the perpetual crotchets following the DSCH theme move ideas forward, while the chords are in the violins; at Fig.16 the texture inverts for four bars, and the chords are lost. From bar 62, the two elements of the texture are more freely mixed, and clear imitation of the DSCH motif is evident. At Fig. 18 there is reduced instrumentation and a thinner texture as the viola takes the theme, supported by syncopated chords in the cello (violin 1 joins at Fig. 19, violin 2 at Fig. 20). Note the build and rise of the material which covers over two octaves from start to finish, producing a dense and fast moving texture propelling us towards the second section, B.
TONALITY: Clearly alternates between G# and C minor. It starts in G# minor, but is less stableafter Fig. 14. C minor is reached in bar 50, G# minor in bar 58, and C minor returns in bar 62. The variant of figure a heard in the viola at Fig 18 is modulatory in character, and figure a1 in violin 1 at Fig. 19 brings additionaltonal conflict against the ostinato part. However, from bar 109 the music is preparing us for C minor in the next section.
THEMES: The opening theme is characterised by two main musical ideas, a1 and a2, and the opening four bars outline the ideas for the movement to follow.
Figure a1 is the opening idea in G# minor, and presents itself as narrow range of pitches, including the mediant, tonic and flattened supertonic of the scale. (Remember this rhythm as figure x from movement 1? The note values are still the same, but it feels as if the figure is heard in diminution, due to the much faster tempo. Also, the opening interval is now a minor 3rd, not a perfect 4th as in figure x.)
Figure a2 is the one bar motif heard in the first violin at bar 5 – a chromatic scale of 4 notes, repeated at four different pitches. (Note the move down in semitones, before the final bar begins on A§, the flattened 2nd in this key of G# minor. This is a diminished 4th higher than the E# at the beginning of the previous bar, an interval which continues to be significant in this work).These chromatic lines are devoid of any real thematic character. Violin 1 repeats figure a1 at bar 9, while the opening motif is heard in violin 1 at bar 16. At Fig. 13, the music begins as if to repeat the opening, but changes direction in bar 31, as violin 1 moves forward with an ascending line leading us up to an E at Fig.14 (bar 34).
Immediately prior to this (in bar32), the DSCH motif makes its first appearance in this movement in the viola and cello parts (note that the final note of the 2317 motif is written as F§, not E# as we may expect). The 3217 variant is seen in bars 36 and 39, and inverted as 7123 in bars 49 and 50, again in the cello. Figure a1 and 2 is explored and manipulated (Figs. 14-16), after which the G# pedal in the cello prepares us for a return to C minor and the DSCH motif in that key. At bar 62, the cello states DSCH at its original 2317 pitch (but this time in crotchets, so we say it is heard in diminution). This is then imitated in the other three instruments at a bars distance, from low to high (i.e. cello, viola, violin 2,and then violin 1). To this is added three further statements of the motif (violin 2, then an octave lower in violin 1, then in cello, echoing bar 62).
At Fig. 17, DSCHis heard in violins, incanon at the octave, and in this time in minims. Figures 17 - 18 explore the original tetrachord of a diminished 4th (i.e. Bª - E¨): note the cello in bar 68/9 with two statements of 2317 before moving to a steady crotchet bass line supporting the canon in the upper two parts. Also noteworthy is the compound diminished 4th between the violins at bars 72, 74 and 76.
In the alternating bars (i.e. 71, 73 and 75), this interval is inverted to become an augmented 5th. Other intervals include 7ths and 9ths on alternate minims; none of them are resolved, so there is much tension in this passage.
At Fig. 18, figure a1 is heard in viola accompanied by the suggestion of chords in the cello (the technical device on a string instrument playing two notes at the same time is called double stopping).In bar 93, an ostinato begins in viola. This is in G minor, is based on 3327, and is clearly a derivative of the DSCH motif. At Fig 19, a1 is heard in violin 1, before playing the original DSCH against the viola ostinato.
At Fig. 20, the DSCH motif is heard in strongly accented minims in the cello part, then as frantic canon in violins – once again, note the diminution in crotchets. Phrases here are 6 bars in length.
RHYTHM: One noteworthy rhythmic feature of the opening is that presented by the chords, played sfff (i.e. with as heavy an accent as possible). They begin in the first beats of bar 1, 3, 9, 11 and 13, but the off-beat chords e.g. bars 15 -20 give a more syncopated feel to the accompaniment.
HARMONY: The harmony in the first section is interesting, because there are lots of flat inflections (i.e. pitches) added to the tonic minor mode. The inclusion of such notes as the ¨2(the flattened supertonic of the key), is characteristic of Jewish, gypsy and even Spanish music. Generally, the harmony is non-functional as the music is driven on by the melodic figuration, but the neighbour-note alternatives proposed as an alternative to some notes of the tonic minor key create dissonances. The harmony is also non-cadential i.e. notes are added for interest rather than for serving the purpose of any cadential progression.At Fig. 14, the music becomes increasingly chromatic as the DSCH motif is manipulated and re-ordered, but it moves within various diminished 4th boundaries in the chromatic scale motifs. The violent chords of the opening have becomeincreasingly strident; note the E / F alternation from bar 35 in violin 1 (compound minor 2nd / semitone), supported by perfect 4ths (double stopping) in violin 2. At bar 41, the violin chords emphasize intervals i.e. min 3rds / maj 2nds. From Fig. 16, the G# pedal in the cello prepares us for a return of the DSCH motif in the cello at bar 62. Note that the crotchet delivery of the DSCH motif in viola and cello emphasizes the E¨ and Bª on strong beats, which supportsthe C minor feel (but also note the ¨5 - G¨s - here). From Fig. 18 – Fig. 20, the material is more settled, with the cello returning to the punctuating accented chords. It is anchored on a bass of F#, even though there is still chromatic movement above. The chords at bar 122 in viola and cello move upwards in semitones towards the climax point (compare this with the run up to the recall of the first movement in the composers 7th quartet, where a similar device is used.)
INSTRUMENTATION: Note that the first violin is instructed to play sul G, which means that the pitches of the opening motifs must be produced on the lowest string of the violin for bars 1 – 12. This affects the density overall. Note also the strong dynamics and accents, e.g. sfff cello chords, Fig. 18.
Section B / 126-232 / figure b =

This is a direct quotation of the main Jewish theme in the Piano Trio No 2, op.67 (bar 31-44). This is louder and faster than the original, with arpeggio chords, not pizzicato chords. Its finale became associated with images of the Jews being made to dance on their communal graves. / TEXTURE: Violins are heard delivering the powerful theme here in octaves above the arpeggiated ostinato pattern in the viola and cello parts which covers a span of two octaves. A very expansive and texturally striking outcome.
STRUCTURE: This section presents two main sentences based on figure b, with a central and more chromatic link from Figs. 22 - 23. There is another link to conclude the section from Fig. 25.
TONALITY: C minor (with a change of key signature to three flats!). As already mentioned, this theme holds links with Jewish music, and one important characteristic of Jewish scales is the flattened supertonic (here D¨), and the sharpened subdominant (F#) both of which now feature prominently. Look at bar 149 -155 in violin 2; from bar 152-5, the tritone semibreve C to F# is worth noting.
MOOD: The theme is very powerful, very emotive, and climactic- and brings release from the tension built up in the previous section.
THEMES: The new theme b is played by violins two octaves apart (which actually derive from the two hands of the original piano part of the piano trio). The music becomes increasingly repetitive. Note the irregular phrasing, and also the expansion of the DSCH motif as the two semitones, i.e. F#/G and D¨ -C now span a 5th, not a diminished 4th.
Figs. 22 -23 is a link between two statements of theme b, noteworthy for its change in rhythmic impetus, dependence on the diminished 4th of thegerminal DSCH motif, use of semitones, chromatic movement harking back to fig a2, and the accented chordal accompaniment from section A.
At Fig. 23, the second half of section B is heard, and the musical ideas are extended. Note the canon based on DSCH played by the cello, followed by the viola a bar later and an octave higher; the motif is then played ff in octaves in the violins. Note: the frantic triplets, the fact that the theme in violins progresses beyond octaves, and is heard in 10ths in the violins (e.g. 181 – 188), in 6ths(e.g. bar 1932), with a 7thjust on the first beat of the bar (from 196 – 197); in tritones (from 1972 - 200), and in 3rds (e.g. from Fig. 26). The violin theme is then accompanied by the viola and cello in another canon utilising the DSCH motif, based on a one bar ostinato (cf violin 1 bars 118-124).
From Fig. 25, the melodic material is based on motifs and delivered in three regular 4 bar phrases, shifting to 6 bar phrases from Fig. 26. The chromatic patterns return, and this includes theme b, as well as references to figure a2. However, there is no regular pattern to the violin intervals at this point. It is based instead on linear movement, which builds up texture and momentum.
HARMONY: The theme emphasises thetritone between C and F#. Check out the first extended interval between the cello and the violins at Fig. 21, scoring which really emphasizes the interval said to portray evil (the ‘devil’s interval’, here obviouslyrepresenting the Jewish death camp). The ostinato part in the viola and cello presents arpeggios of C minor (the tonic).
Also, the #4 and ¨2 above C (i.e. F# and D¨), already mentioned as being a characteristic of Jewish scales, feature prominently here. This is clearly evident in bars 149 -151:

Figures 22 and 25 contain extremely chromatic content. From Fig. 24, there is a feeling of C minor, as the harmony is based around the dominant minor 9th of that key. This final part of the section is again rather static as it is linked so closely to the C minor feel of the DSCH motif. The section ends on the dominant chord, ready to move down to G#, and the return of section A.
RHYTHM: The diminution of figure ‘x’ from movement I is noteworthy, so is the constant crotchet movement and the strident rhythms, including the triplets of theme b. The accompanying crotchet triplets in the lower strings (e.g. two bars after Fig. 26) provide a cross-rhythm against the melody which is very effective.
Section A1 / 233-296 / figure a1 / STRUCTURE: The opening section A was 125 bars in length, section A1 is 56 bars long, so this section is much reduced. The rhythmic idea from a1 is delayed until Fig. 31, where 8 bars are then used as a forerunner to the DSCH quote at the start of the next section. It is always a good idea to keep comparing these sections as you work through the information, so that the differences are absolutely clear.
TONALITY: G# minor to start, with touches of B minor at Fig. 28. Note the key signature change to C minor at Fig. 31 in preparation for the return of section B; however, the cello line is more akin to E¨ minor! The sense of tonality here is severely under stress.
THEMES: The theme is now heard in viola (crotchets throughout), with emphatic chords as before in the other three parts. Note that the first phrase is now 7 bars, not 8 as in the opening section A. The chords here are played on the first beats of the bar, and their placings do not correspond with the chords in the first section. At Fig. 29, violin 1 plays the 723 section of the tetrachord in various keys. The material is much reduced, and the DSCH material from Figs. 16 – 18 has been omitted. At bar 283 violin 1 begins another driving ascent to Fig. 31, where the key signature of C minor and the original rhythms of figure a1 are finally re-instated.
RHYTHM: There is no hint of syncopation in the accompanying parts until bar 283.
TEXTURE: At the beginning of this section, the texture is thinner as the opening of the movement is recalled. In actual fact the instrumentation is swapped; this time the viola leads and the first violin follows with the melodic material. As the section concludes, note the return of the syncopated chords in the accompaniment at bar 283.
HARMONY: As thetexture changes, so has the chord positioning; note the tonic pedal of G# minor in the treble and the bass. At Fig. 28 we continue to identify the ¨2 (flattened supertonic) in the cello, which is dissonant against the violins (playing the continued G# minor chord). The chromatic / semitone idea linked with a2 still remains. Whether the anomalies we identify in these chords are the modal flat degrees of the scale (2,4, and 5), or whether they are simply neighbour-notes which elaborate the tonic minor triad is uncertain; in either case, the harmonic movement is actually less than it looks. The E minor chord at Fig. 29 brings brief stability, and the change of chord here reflects back to, and reminds us of the harmonic contrast at,Fig. 14 in section A. At Fig. 31, the violins play the original rhythm of a1, presenting obvious connections with the DSCH motif which anchors the material around the chord of C minor; however, note the dissonance with a pedal note on the supertonic (D) heard as constant crotchets in the viola. This line is a stark contrast to its leading role at the start of section A1. To add to this vertical dissonance, the cello works its material again around the interval of a diminished 4th (i.e. D - G¨).
Section B1 / 297-349 / theme b / STRUCTURE: Section B = 107 bars; section B1 = 52 bars. Much material has again been omitted. Note that the developed version of the theme returns before the original theme b.
The reduction of material and the way that it has been re-stated is, in some ways, typical of the composer’s structural timing. As in other works, he has set himself a musical problem – how to conclude the constant and driving perpetual motion. Where a similar situation arose in the 8th symphony, the violence exploded at the end. Here, he cuts the music off, like a blank screen on a film…and the sudden plunge into silence at the end of the movement in bar 350 is particularly effective.
TONALITY: C minor.
THEMES: The developed form of theme b is presented first, and is much reduced from that presented in the original statement.
Bars 297 -303 = 178 – 184, but with the lower two parts continuing with the steady crotchets from the end of A1 (Fig. 31 onwards).
Bars 305 – 311 = 297 – 303, with only very slight changes at the end of the phrase in the lower strings.
From bar 312, the lastfour bars of the previous phrase are repeated three times, emphasizing the triplets and building up the texture in readiness for the return of the primary theme bat Fig. 33. This time, the C minor arpeggios are in violins and the Jewish theme, linked with the finale from the Piano Trio no. 2, is delivered fff in viola and cello an octave apart.
TEXTURE: Initially, the texture in this section follows on from the corresponding earlier sections. At Fig. 33 we see the crotchet triplet arpeggios in the violins and theme b in the lower strings, where the writing and scoring enhances the passion and depth of feeling. The material is laid out to achieve maximum effect and volume from the string quartet.
HARMONY: Quite chromatic at times, with the semitone patterns of figure a2 still accompanying theme b. The harmony is loosely based around the chords of C minor, with some neighbour notes again in evidence. Particularly noteworthy is the feel of dominant preparation that this section creates, and the diminished interval based on the dominant chord in the violins at bar 308, 312, 316 and 320 contribute to this. AtFig. 33, the tonic chord of C minor is firmly established in the violin arpeggios. At Fig. 34, the ostinato in the violins moves to a diminished 7th chord on C#. This is a new shift of harmony which to all intents and purposes, would be setting us up to return again to the tonic of G# for the final time. However, it becomes fixated and remains unresolved! Harmonically, the movement remains open-ended - and this facilitates the surprise ending and switch to G minor in the third movement.

(C) Copyright 1960 by Boosey & Hawkes Music Publishers Ltd.
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.