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Movement III – overall comment
STYLE: As a composer, Shostakovich wrote a number of waltzes– but often they were not exactly as we would perhaps expect! The
idea of a traditional waltz as a leisurely and graceful dance in 3/4 time was not always respected by this composer; instead, his
waltzes were sometimes dark, uneasy, devilish and even, at times, somewhat distorted. (Listen to other examples from his Fourth
Symphony, Tenth Symphony, or the First and Second quartets). This waltz certainly feels uncomfortable after the aggressiveness of
the second movement. The tempo is half the speed, and the dynamic is mainly quiet throughout. It has been described as a
‘grotesque’ waltz…was this sarcasm? Was the composer saying what it was like to dance to Stalin’s tune?
STRUCTURE: A number of distinct sections are easily identified, and the overall plan is quite symmetrical in design. It could be
compared to a double scherzo with some intervening material, or perhaps seen as being in rondo form, with some intervening
material, or even arch form as there is a central section which presents new material.
Whatever the varied interpretations may be, the overall plan has a ternary shape, in that there are two outer sections with similar
material flanking a contrasting central passage. Again, the composer telescopes the later stages of the movement, once more
denying a sense of completion.
The movement has been analysed according to the following outline:
OPENING SECTION (Intro + ternary form)
Intro
Section A
Bars
1 - 162
Bars
163- 662
Section
B
Bars
663 1011
Section A
Bars
1012 1151
CENTRAL SECTION (Three ideas)
Section C
Transition
Bars
1152 - 139
Section
D
Bars
140 1511
CLOSING SECTION (Shortened recap of
opening)
Section E Intro
Section Section Section
A
B
A
Bars
Bars
Bars
Bars
Bars
1512 190 205322532442189
2052
2252
2441
2701
MOOD: Quite haunting, and at times distorted, with some very short angry gestures.
Transition
/ Link
Bars
2702-301
TEXTURE: Mostly thin, with a quiet dynamic. For the most part, the theme is delivered by one instrument (i.e. violin 1 or cello, while
the others accompany).
THEMES: The DSCH motif; a quotation from Tchaikovsky in the final transition/ link passage; a quote from a setting of Dies Irae.
RHYTHM: The basic three beats in a bar style of a waltz is used, though occasionally interrupted by a few bars in cut common time.
This contributes to the unsettled feel of the music.
TONALITY: Rooted in G minor, the tonality of this movement moves via a cycle of 5ths flatwards (i.e. G – C – F - B¨). The keys of the
sections are as follows:
OPENING SECTION (Intro + ternary form)
Intro
Section A
G minor
G minor
Section
B
C minor
Section A
G minor
CENTRAL SECTION (Three ideas)
Section C Section
Transition D
F minor
B¨ major
CLOSING SECTION (Shortened recap of
opening)
Section E Intro
Section Section Section
A
B
A
C minor
G minor
G minor C minor G minor
HARMONY: From the outcome, chromatic figuration holds the material of this movement together.
Transition / Link
B¨ major /ends on
note of A#
MOVEMENT 3: / Allegretto
Structure:
OPENING SECTION (Intro + ternary form) / CENTRAL SECTION (Three ideas) / CLOSING SECTION (Shortened recap of opening) + Transition / Link
SECTION
BARS
THEMES
OPENING SECTION (Intro + ternary form)
Intro
Bars
 DSCH motif
2
1 - 16
COMMENTS
TEMPO: Allegretto – half the speed of the previous movement.
MOOD: A grim waltz!
 Descending chromatic
figures / tetrachords
STRUCTURE: 16 bars; four 4 bar phrases consisting of descending motivic material.
TEXTURE: Monophonic. Material is played by violin 1 - lower three parts rest.
THEMES: The DSCH motif sparks off a passage in which the first violin seems to be
searching for the theme – the rhythm is settled but the melodic content far less so.
Interestingly, the use of two Ds at the start of this movement makes sense; the
composer’s middle name also began with a D –hence DDSCH! The descending chords
and figures are identifiable from the outset:
There are a number of varied patterns used as the composer seems to be searching
for the right theme! Note the change of rhythm in the opening statement of DSCH
(bars 1-3); this is heard fff, (plus crescendo), settling on a Bª played as a trill in the 2nd
violin. This is an ornament which will reappear throughout the course of the
movement.
RHYTHM: The movement starts in cut common time, but moves to the familiar waltz
3/4 time signature by bar 4. From this point, only two rhythmic units are utilised for
the remainder of this opening: q qzzz and qqq.
TONALITY: The key signature is two flats, and despite the chromatic inflections, the
opening bars and the final two notes of the last phrase clearly suggest G minor.
HARMONY: There is much chromatic movement, and the frequently occurring Bª is
off-putting in what has been recognised overall as a minor tonality (Bª is the
sharpened mediant of G minor – the major third above the root). In bar 6, there is a
version of the tetrachord with a D¨ (that flattened supertonic again). The continuing
descending movement passes through certain notes of the G minor scale which are
obviously flattened i.e. A¨ (the ¨ 2) and C¨ (the ¨ 4). Also note the use of chromatic
neighbour notes (i.e. Eª in addition to those mentioned above).
Section A
Bars
163- 662
 Theme a =
This is said to be an allusion to
the theme from Saint-Saëns’
Danse Macabre.
STRUCTURE: The first statement is 9 bars, but the second phrase is clearly extended
with some new material, (bar 38-49) with a final held tonic note of low G held for
three bars. The music then repeats the material from bar 29, but omits the held note
at the end.
TEXTURE: This is a melody in violin 1 with accompanying detached oom-paa-paa
chords in the cello and viola parts. Note the sudden short and quite violent outburst
across the four parts at bar 44.
THEMES: The initial part of the theme is based on the DDSCH motif heard in the
introduction to this section, answered by falling 3 note sequential crotchets, played
staccato.
TONALITY: G minor is safely established by bar 46!
HARMONY: The chromatic neighbour notes are of interest within the harmony e.g.
note the obviously dissonant Bª of the violin tune, played against the B¨ in the viola
chords. The bass part also holds chromatic interest as it moves up to A¨ (with even
touches of Aª in the cello line!). The piano trill for four bars in violin 2 adds to the
dissonance. Bar 45-6, note the perfect cadence in the tonic minor key. So once again,
harmonically this first theme is quite static, but coloured by the added chromatic
notes.
Section B
Bars
663 1011
 Theme b1 =
 Theme b2 =
 Theme b3 =
 Theme b4 =
 viola ostinato =
 cello ostinato =
STRUCTURE: This is mainly organised into 8 x 4 bar phrases some of which are
repeated, i.e.
b1 + b2
b1 + b3
b1 + b2
b1 + b4
TEXTURE: The theme is heard f in violin 1, with quite minimal support in violin 2, a
two-note ostinato accompaniment which dominates the viola part, and a second
ostinato 3 note ‘waltz-like’ accompaniment in the cello part. The texture is light and
uncluttered.
THEMES: Theme b1 starts with an anacrustic entry into Fig. 39, (as quoted).
Something about this reminds us of earlier material at bar 44/5.
Whereas theme a consisted of a descending idea, this is ascending, and more disjunct.
Obviously the opening semitone motif is crucial here, as it ascends across the strings,
rising in 5ths and aiming for the Eª at the end of the phrase; it is a motif which still
reminds us of DSCH in this section. This is primarily because of the opening semitone.
Interestingly, both the ostinato figures in viola and cello also feature an interval of a
semitone. The second half of the opening phrase (i.e. theme b2) includes a figure
which spans the familiar interval of a diminished 4th (F-C#). The corresponding section
in the second phrase, (theme b3, bars 79-82) feels like an inversion of the initial
material, but is without the triplet decoration. It is also more lyrical, perhaps
attempting to recall overtones of a more conventional type of waltz.
Bar 823 – 93 is a repeat of bars 663 - 772. From bar 933, the material is manipulated
differently as violin 1 begins a descending line using the rhythm of figure b to
complete the musical sentence. This is accompanied by the 2nd violin (now arco)
which plays a sustained oscillating pattern, reminiscent of the viola ostinato, but in
dotted minims and using the interval of a tone, not a semitone. The lower two
instruments resort to the off-beat detached crotchets heard previously as the
accompaniment throughout section A.
RHYTHM: Typical waltz type patterns are utilised here, though the resulting mood is
rather distorted.
TONALITY: Rooted mainly in C minor.
HARMONY: The tonic of C is clearly established in the cello ostinato, though the
flattened supertonic D¨ once again makes its mark within the scheme. Note that the
cello substitutes the C#, the enharmonic equivalent of the ¨2 in bars 80-82, where the
ostinato takes a momentary break. C#s are also included in the violin melody – which
incidentally, follows more of a path in G minor. The passage is very chromatic, and
includes some harsh dissonances, with the use of neighbour notes. From bar 95 the
harmony features whole tone patterns as it moves briefly between B¨7 and C major 7
chords, finding its way back to G minor.
Section A
Bars
1012 1151
 Theme a
STRUCTURE: This is a much reduced section in comparison to the opening; in fact it is
about 36 bars less! Bars 1012 – 109 are a basic repeat of bars 20-28, except:
 the viola and cello parts are an octave higher than previously;
 the cello plays sustained pedal notes, rather than detached notes on the first
beat of the bar.
A five bar answering phrase completes the section.
TEXTURE: Thin. The theme returns in violin 1, lightly accompanied by the lower three
instruments.
THEMES: Theme a. From bar 110, violin 2 takes the lead with the 3 note descending
crotchet motif previously heard in violin 1, bars 106-109. Note the little chromatic
ascending scale in violin 2 which links the two phrases here. Violin 1 plays a
countermelody, using the by now familiar rhythmic patterns from theme a.
TONALITY: G minor is suggested by the accompaniment, but again note the major 3rd
(Bª) in the theme.
HARMONY: The interval of a semitone is again in evidence throughout the working
and is prominent in the cello, viola and violin lines. The outcome is again chromatic,
and the third descending extended phrase brings this section to a close on the chord
of G minor.
CENTRAL SECTION (Three ideas)
Section C Bars
 DSCH
Transition 1152  Theme c1 =
139
 Theme c2 =
STRUCTURE: The second half of this musical passage is based on the first half, but
with some alterations.
TEXTURE: More imitative, but the main melodic thrust and movement continues in
violin 1, with some chord figuration in viola and a sparse contribution from the other
two instruments.
THEMES: This section consists of manipulation of the DSCH motif, an accompanying
triadic figure, and the ascending tetrachord pattern 7123. At Fig. 42, the F min
‘Alberti’ figure in viola shows the first version of the triadic configuration, and at bar
120 the four bar melodic phrase in violin is based on an extended DSCH motif heard in
sequence (theme c1). The answering phrase (c2) begins with a quaver turn (the
version of the tetrachord here is 17123), followed by falling triadic work. This three
bar idea is then heard beginning a 3rd lower, but it is not an exact sequence. Theme c1
returns, but the answering phrase this time is inverted as the line rises.
RHYTHM: Note the changes of accents as the passage starts in cut common time at
bar 117, but changes back to triple time for theme c2 in bar 124. During the following
bars, note the continuing use of both these time signatures, as well as 2/4.
TONALITY: F minor at bar 117 and bar 130, but the material leads away from the tonic
as each phrase progresses.
HARMONY: Quite bare in places, as the melodic movement in violin is what propels
the music forward. This, in itself, is chromatic at times (e.g. bar 135). Again, the
interval of the semitone is a key issue (compare the triadic idea in bars 128-9, and its
inversion in bars 136-7). The triadic patterns make the harmonic content feel quite
functional, moving towards the chord of F minor to conclude this section with a
perfect cadence, Fig. 43.
Section D
Bars
140 1511
 Quotation from the start
of Shostakovich’s first
Cello Concerto
THEMES: This starts with the 7 bar quotation from the opening of the Cello concerto,
which in fact seems to interrupt the flow of the previous section. This was a work
dominated by the 4 note motif heard here at bar 1402 – 141:
Note that it ends with the falling semitone, just like the DSCH motif. The theme in the
quartet is played by the first violin (it was played by the cello solo in the concerto),
and the striking staccato chords in the lower 3 parts were originally heard in the
woodwind section of the orchestra.
RHYTHM: Further changes of accent here as the section is in cut common time,
alternating with 3/4 from 147-151, after which it settles in triple time.
TONALITY: B¨ major (it was originally E¨ major in the cello concerto).
HARMONY: The repeated note chords of B¨ in root position move to a variety of
detached chords from bar 145 onwards. They are heard mainly on the first beat of the
bar, providing support to the violin 1 line as it works it way upwards. These chords are
again triadic in nature: B¨ -bar 144; A min -145; A¨ minor – 146; A major -148; C minor
– 149; back to A major – 150, and finishing on C minor at 151. They seem to be
working ‘around’ the tonic of B¨!
Section E
Bars
1512 189
 DSCH variant: 7123
 Theme e =
This only shows e1 and e2. The
divisions of this theme are easily
identifiable as two bar sections.
MOOD: Less tense, more stable, and arioso-like: has been described as a ‘ghostly
lament’.
STRUCTURE: This consists of two passages, one beginning at Fig. 44, the other at Fig.
45.
TEXTURE: This is a thin and ethereal texture, with scalic patterns in violins heard pp,
and the cello playing the theme at a very high pitch i.e. in the treble clef. Up until this
point, all themes have been in the violin line (even the theme from the cello
concerto!) – so this theme in the cello with its high timbre and melancholic quality is
significant, and effective. The accompaniment is in violins, is very chromatic – and
kind of creepy! Viola is tacet.
THEMES: Theme e. This is perhaps one of the most lyrical sections of the entire work,
and provides a welcome contrast from the earlier tension. It feels like another
quotation, or allusion – but it is not. It is organised into clear two bar units:
e1 + e1
e2 + e2
e3 + e3
e4 + e5
e1 + e1
e2 + e2
e6 + e6
These stepwise patterns originate from the tetrachord that outlines the diminished 4 th
interval; in this case, the interval is clearly heard in the cello line which moves from Bª
- E¨ (e.g. bar 157 – 1581). Note at bar 184 the final pedal note on E in the cello which
links into a shortened return of the opening section.
TONALITY: C minor (though the opening Bª has been suggested as a modal tonic?).
HARMONY: At Fig. 44, the start of this section, the implied tonic is that of Bª –but the
journey of the cello theme follows clearly the path of C minor. Most unsettling,
however, is the parallel 5th movement in the violins from bar 152, which is very
chromatic in content. The interval of perfect 5ths between E in violin 2, and B in violin
1, is a perfect 5th which feels like some kind of harmonic anchor point. From bar 165,
note that this pattern uses parallel 4ths for 4 bars. Eventually, the cello theme comes
to rest rather uneasily on the note E, which is the tonic major 3rd. Throughout this
passage, the E played in violin 2 on the first beats of some bars has been at odds with
the E¨ of the theme.
CLOSING SECTION (Shortened recap of opening) + Transition / Link
Intro
Bars
 DDSCH
TEMPO +MOOD: As in opening, except for the fact that the music is heard ff, not fff.
190 2052
STRUCTURE: Bars 190 – 2052 = bars 1- 162.
TEXTURE: Viola delivers the material (con sordino), an octave lower than originally
heard in the violin. The continued held pedal note in the cello provides an eerie
backdrop for the agitated line in the viola.
Section A
Bars
20532252
 Theme a
Section B
Bars
22532441
Bars
 Theme b
Section A

Theme a
STRUCTURE: Bar 2053-2252 = bars 46 – 66, except for:
 the low held violin pedal at bar 46-48 is replaced by the continuing pedal in the
cello, this time on an E;
 violin 2 plays the trills using a mute;
 bars 63 -64 are omitted at the end, so the passage is a little shorter;
 cello finishes the pedal note 8 bars before the end of the passage and remains
tacet for the final phrase;
 scoring for middle parts is slightly altered (bars 219-222) as the viola
discontinues the double stopping, and violin 2 joins the viola rhythms with
detached crotchet Ds.
STRUCTURE: 2253-2441 = 823 - 1011
STRUCTURE: 2442-2701 = 1012 – 140, but omits bars 118-130.
Transition
/ Link
24422701
Bars
2702-301
STRUCTURE: Bars 270 – 2741 = bars 140 - 1431. Thereafter, there are developments:
 the material is extended for a further 9 bars, not 7 as in section D;
 it is much quieter;
 the melodic content descends from bar 274, instead of ascending as it did in
the corresponding section D;
 further references to the theme from the concerto are heard, bars 278 -285.
The remaining 16 bars function as a direct link into the fourth movement.
 Quotation from the start
of Shostakovich’s first
Cello Concerto
 Quotation from
Tchaikovsky’s 6th
Symphony, movement I:
(This quote is noteworthy,
because that work was a
particularly pessimistic work. It
had been written shortly before
Tchaikovsky’s death, and has
been thought of as a kind of
‘suicide note’).
TEXTURE: Violin 1 with main material, accompanied by lower strings to start this link.
From bar 282 there is an eerie reminder of the opening of the movement; the texture
is once again monophonic, and desolate.
THEMES: The theme from the Cello concerto is again played by violin 1, with the
chordal response in the lower 3 strings. In contrast to the earlier quotation, this
melody now slips down in semitones, settling on a motif which again spans a
diminished 4th (i.e. G –C¨, in bars 278 - 285). From Fig. 52, violin 1 descends to G# on
the bottom string (note the increasing dynamic!), where eventually violin 1 runs out
of steam. The short motif from the Tchaikovsky is heard. Following the rest at the
beginning of bar 292, the motif is repeated. However, in a subtle twist, the last two
notes in bar 294-5 begin a reference to a quote from the plainsong of Dies Irae (a
movement from a requiem Mass). Only the first 5 notes from this chant are played
and they are heard pp, with the final# sustained to link into movement IV.
TONALITY: Again B¨ major.
HARMONY: The accompanying chords are B¨ as before, but their re-appearance at
bar 279-280 and 281-282 suggest a Cmin 7th chord  dim7 harmony.
The violin theme, unaccompanied from bar 2822, eventually comes to rest on an A#,
the enharmonic equivalent of B¨.
(C) Copyright 1960 by Boosey & Hawkes Music Publishers Ltd.
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.