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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
Bars 1 - 125
Section B
Bars 126-232
Section A1
Bars 233-296
Section B1
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:


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
The DSCH motif - his musical signature motif which seems to be making the connection between the composer and the
“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 his 2nd 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,
war and dehumanization.
The quotations in this movement are easily identified, and have been acknowledged as politically coded messages. The allusion
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 the use 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
Section A
G# minor
BARS
1-125
THEMES
figure a1 =
figure a2 =
 DSCH motif
 Allusion to: Symphony
no.8, third movement
COMMENTS
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 stable after 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 additional tonal 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 bar 32), 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, DSCH is heard in violins, in canon 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 become increasingly 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 supports the 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 7 th 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
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
the original, with
arpeggio chords, not
pizzicato chords. Its finale
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.
became associated with
images of the Jews being
made to dance on their
communal graves.
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 the germinal 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 7th just 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 the tritone 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 obviously
representing 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 9 th 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 the texture 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 last four 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 b at 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. At
Fig. 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.