The string quartet in the works of Beethoven and Shostakovich: thematic and intonation links

Balshin Vladimir Vladimirovich Honored Artist of Russia, Associate Professor of the Chamber Ensemble Department of the Moscow State Conservatory named after P. I. Tchaikovsky 101000, Russia, Moscow, Bolshaya Nikitskaya str., 11/13 vb-cello@mail.ru Other publications by this author

The string quartet genre occupies an important place in the history of Russian and Western European music. Its formation begins in the works of Mozart, Haydn and Beethoven and goes through a revolutionary path from "pleasant music for amateurs" to a serious genre "designed for connoisseurs and professionals" ^{[6, p. 114]}.

Based on the traditions laid down by the Viennese classics, a modern type of string quartet is being developed, which has individual features and an updated figurative and semantic series. Over the years, a certain repertoire has developed in performing practice, in which D. D. Shostakovich's quartets stand apart. They become a model of dialogue of epochs, styles and trends, close interaction of traditions and innovations.

As one of the most complex and at the same time subtle types of musical art, the string quartet genre is a litmus test of the musical style, compositional language and skill of the author, therefore, it is most often addressed in the mature period of creativity. The string Quartet sets the composer a difficult task to convey the full depth and richness of the inner content in a very concise, transparent and filigree genre, and the performers, in turn, will have to solve the most difficult tasks from a performing point of view.

There are a number of studies of the string quartet genre, such as "Quartet Art" by R. Davidyan ^[2], "Questions of Quartet Performance" by L. Raaben ^[9], "String Quartet in Russian Music: 1790-1860" by L. Sinyavskaya ^[10], G. Feldgun ^{[12; 13; 14]}, etc. Important information about the performing side of the quartets can be found in the works of musicians: "Shostakovich's Quartets through the eyes of the performer" by F. Druzhinin, V. A. Berlinsky's memoirs in V. Teplitskaya's book "A Priceless Gift" ^[11], etc.

The creative Union of Shostakovich and the quartet. Beethoven has a half-century history, which is reflected in the diaries of violist V. Borisovsky and in the letters of D. Shostakovich to the second violinist V. Shirinsky. Important information is contained in the book about the first violin of the quartet. Beethoven's "D. M. Tsyganov" ^[15] by A. Shirinsky.

In this regard, despite the variety of literature devoted to the genre of string quartet, it is of interest to study in more depth the internal thematic and semantic connections present between the quartets of Beethoven and Shostakovich.

The object of research of this article is the quartet creativity of Beethoven and Shostakovich in their relationship. The aim of the study is to identify parallels between string quartets in the works of Beethoven and Shostakovich in relation to their thematic and intonational connections. Russian Russian Quartets The main objectives of the article were to identify the connection of Beethoven's creativity with Russian music and the composer's use of melodies of Russian songs in "Russian Quartets", as well as intonation-thematic parallels between the quartets of Beethoven and Shostakovich. In addition, the article reveals the special role of the performer in the work on the quartet of both Beethoven and Shostakovich – this emphasizes the similarity of the creative process of the two authors – representatives of different eras.

One of the distinctive features of the quartet was the role of a particular musician-performer in the creative process of the composer. Often both domestic and foreign composers created string quartets, counting on certain performers. So, Beethoven created quartets, focusing on the virtuosity of the first violinist I. Schuppantzig^[1]. The skill of the violinist has left its imprint on the score of the composer's string quartets, which have reached a new level both in terms of technical complexity and in terms of content, compared with earlier examples of the genre. Shostakovich also created his quartets based on specific musicians of the quartet. Beethoven (in those years, the quartet consisted of Dm. Tsyganov, V. Shirinsky, V. Borisovsky and S. Shirinsky), "whose performing skills contributed to the creation of many chamber compositions by Russian composers" ^{[3, p. 160]}. Shostakovich took into account not only the peculiarities of the sound of each musician, but also the manner of playing. The Quartet named after. Almost half of all string quartets are dedicated to Beethoven: Nos. 3 and 5 (the whole composition), No. 11 (V. Shirinsky), No. 12 (Dm. Tsyganov), No. 13 (V. Borisovsky), No. 14 (S. Shirinsky).

Up to the XIX century, Beethoven's works in Russia "were not performed in concerts, were not heard in private homes, the composer's name does not appear in memoir literature and personal correspondence" ^{[8, p. 126]}. At the beginning of the XIX century, Beethoven's music became famous. By the middle of the century, the perception of the Viennese classical music and his personality is changing. In the 50s and 60s, he was perceived not as an "outcast genius-hermit, but as a leader pointing the way to the future for all progressive humanity" ^{[7, p. 333]}. By the twentieth century, Beethoven's late compositions are still perceived warily even by some professional musicians. However, the recognition of Beethoven's work as outstanding in the world of musical art is gradually coming. It was in Soviet Russia that Beethoven's music became an object of worship, and his Third, Fifth and Ninth Symphonies, as well as the Sonata Appassionata, were in tune with the ideas of the October Revolution and its initiators.

In turn, the relations between Beethoven and Russia (in particular, Russian folklore) developed more successfully. Among Beethoven's string quartets, the so-called "Russian" quartets Op. 59, written by order of Count Razumovsky, stand apart. They got their name not by chance: the thematic material of the quartets is closely connected with Russian music. The first and Second quartets, written in 1806, contain melodies from the "Collection of Russian Folk Songs with their Voices" (published by N. A. Lvov and I. B. Pracha) – the song "Ah, is my talent, talent" (the finale of the First Quartet) and "Glory to the High Sun in heaven" (scherzo from The Second quartet).

Russian Russian quartets' music is not only associated with the quotation material, but also has a "Russian spirit" in general, contains intonations of the Russian drawl. Researchers of Beethoven's work (in particular, L. Kirillin ^[5]) pay attention to the fact that the music of the "Russian" quartets is not only associated with the quotation material, but also has a "Russian spirit" in general.

In the finale of the Quartet Op. 59 (No. 1) by Beethoven, this Russian melody sounds, which is ideally integrated into the general intonation "framework" of the composition. It intonationally echoes the main theme of the first movement, which has a masculine character created by the timbre of the cello. It is interesting how the composer interprets the song "Glory" ("Glory to the high sun in the sky"). It also goes well with the main theme, because it corresponds to it in spirit and melody. Beethoven uses it in the middle section of the Scherzo, so the tempo of the theme is fast. The Russian song becomes the theme of polyphonic variations, it sounds enthusiastic, then solemn. Perhaps Beethoven associated the word "glory" with the opening exclamation of the Latin text of the second part of the Mass: Gloria in excelsis Deo — "Glory to God in the highest". Hence the unexpected "learned" contrapuntal style of processing of the Russian song grows.

Between the chamber works of Beethoven and Shostakovich, one can find many parallels and deep connections concerning methods of working with thematism, interpretation of polyphonic forms ^{[1, p. 352]}. As F. S. Druzhinin noted, "music historians and theorists rightly attribute Shostakovich in his quartet work to composers who continue Beethoven's traditions. This also applies to the quartet writing itself, the variety of form and scale of the composition" ^{[4, p. 110]}. Attention is drawn to the scope and internal development of Shostakovich's quartets, the basis of which is symphonism, as well as the increased role of expressive recitatives of solo instruments, as in Beethoven's last quartets.

Shostakovich dedicated the finale of the Sonata for Viola and Piano to Beethoven's memory, which was based on the theme from Beethoven's "Moonlight Sonata", which received a new meaning – "mourning for a doomed high culture" ^{[1, p. 352]}. We should also note the significance of Beethoven's piano music, which Shostakovich, the pianist, highly appreciated and often performed (the Sonata in B-flat Major Op. 106 was performed by the musician at the final exam at the Conservatory). Shostakovich, the composer, was close to "conceptual clarity and architectonic balance, a tendency to reasonable economy of means and at the same time a noticeable tendency to dynamic onslaught" ^{[1, p. 354]}, characteristic of Beethoven's style. Another important bonding element is a sense of humor from light irony to the grotesque.

On the other hand, it was thanks to Shostakovich that both listeners and performers in Russia changed their perception of Beethoven's music, which often anticipated a number of important aspects of Shostakovich's art.

The Taneyevskaya line was closely connected with the style of Beethoven's late quartets, which penetrated into the creative searches of D. Shostakovich. Of particular importance were the five quartets by Beethoven, written in the late period of creativity — the pinnacle of the chamber creativity of the genius — in which some features of the musical thinking of the XX century were anticipated ^{[3, p. 163]}. Both Taneyev and Shostakovich were artists of universal thinking, striving to merge together the polyphonic writing style like Bach's, the perfection of structural proportions like Mozart's, the scale and depth of the idea like Beethoven's.

Speaking of thematic connections, it is important to mention the numerous allusions and even quotations from Beethoven's quartets that are present in Shostakovich's quartets. For example, in the First Movement of Shostakovich's String Quartet No. 2 Op. 68 (vol. 262-263), there is a rhythmically or melodically similar motif in the cello part from the First Movement of Beethoven's String Quartet Op. 59 No. 1 (the melody sounds an octave higher):

Example 1. Beethoven. The first part of the Quartet Op. 59 No. 1 (vol. 1 – 7)

Example 2. Shostakovich. The first part of the Quartet No. 2 op. 68 (t. 262-263).

Another interesting example of textural and melodic quoting is the Third Movement of Shostakovich's Quartet No. 4 Op. 83 (c. 53), in which the unison of the second violin, viola and cello from the Second (slow) Movement of Beethoven's Quartet Op. 18 No. 6 (t. 61-65) is repeated:

Example 3. Beethoven. The second (slow) movement of the Quartet Op. 18 No. 6 (tt. 61 – 65)

Example 4. Shostakovich. The third part of the Quartet No. 4 Op. 83 (tt. 140 – 141).

Note that Shostakovich often not only retains the original melody, rhythmic pattern, texture, but also tonality and even dynamics.

Shostakovich knew Beethoven's music well and appreciated it very much, therefore in his works there are quotations and allusions not only from quartets, but also other works belonging to chamber-instrumental creativity. For example, at the beginning of the Finale of Shostakovich's Quartet No. 2, the same fifths appear in the cello part as in the Finale of Beethoven's Sonata for Cello and Piano No. 4 Op. 102 No. 1:

Example 5. Beethoven. Finale of the Sonata for Cello and Piano No. 4 Op. 102 No. 1.

Example 6. Shostakovich. The Finale of the Quartet No. 2 Op. 68.

In addition to intonational connections, we can also see structural ones: for example, in the First Quartet Op. 49 by Shostakovich, there is also no slow movement, as in the Quartet Op. 18 No. 4 by Beethoven.

So, Shostakovich often turned to Beethoven's work, used his methods and techniques of working with the material, the structure of the cycle, included allusions to themes, intonations in his quartets, and even used whole textured excerpts from Beethoven's music – and he refracted all this through the prism of his creative style.

^[1] I. Shuppantzig served K. Lichnovsky from 1794 to 1799, and in 1808 he joined the service of Razumovsky.