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Piano Trio No. 2 (Shostakovich)

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Piano Trio No. 2
by Dmitri Shostakovich
Shostakovich in 1941
KeyE minor
Opus67
Composed1943 (1943)–44
DedicationIvan Sollertinsky
Performed14 November 1944 (1944-11-14): Leningrad
Duration25 minutes
Movements4

The Piano Trio No. 2 in E minor, Op. 67, is a piece for violin, cello and piano by the Russian composer Dmitri Shostakovich, started in late 1943 and completed in August the following year. It was premiered on 14 November 1944. The piece was dedicated to his close friend Ivan Sollertinsky, whose death in February 1944 affected Shostakovich profoundly.

The piece consists of four movements, with a complete performance running 25 to 27 minutes. The final movement, the "Dance of Death", is in particular notable for its characteristic use of Jewish scales.

History

Shostakovich began writing the trio during the December of 1943,[1] having earlier that year in October mentioned beginning work on a piano trio "on Russian folk themes",[2] and having written to Isaac Glikman on 8 December he was working on the trio.[3] Several days before completing the piece's first movement, Shostakovich's good friend Ivan Sollertinsky, a Russian polymath and avid musician, died at age 41,[4] having experienced heart pains in the preceding days.[5] Sollertinsky's death affected Shostakovich deeply, and he decided to dedicate the trio to his friend's memory.[6][a] Upon hearing of his friend's death he wrote to Sollertinsky's widow that "it is impossible to express in words all the grief that engulfed me on hearing the news about [Sollertinsky's] death", and that "to live without him will be unbearably difficult";[2][9] in the following months he suffered from periods of depression and struggled to compose, at one point writing "it seems to me that I will never be able to compose another note again".[2] He finished writing the work later that year, completing the second movement by 4 August 1944 and the fourth by 13 August.[10] The work received its premiere in Leningrad on 14 November 1944,[11] with the composer at the piano alongside Dmitri Tsyganov and Sergei Shirinsky, members of the Beethoven Quartet, who gave his Second String Quartet its premiere during the same concert.[10]

Two years after premiering the work, in 1946, Shostakovich made the first recording of the work with Tsyganov and Shirinsky, and the next year, on 26 May 1947, he made a second recording with David Oistrakh and the Czech cellist Miloš Sádlo at the Prague Festival.[12][b] In 1946, Shostakovich was also awarded a State Stalin Prize (second grade) for the trio.[16][17]

Structure

The piece consists of four movements:

Andante — Moderato

The first movement, in E minor, begins with a haunting passage in the cello, which plays exclusively harmonics. It is joined by the violin and then the piano, all three instruments playing in canon, with the violin entering a 13th below the cello and the piano a 13th below the violin.[19] This slow first section of the movement undergoes development before the music moves into the faster "Moderato" section, which is in sonata form. The melodic and rhythmic features of this section's first and second themes are in essence based upon motifs introduced in the opening,[20] and are played alongside an rhythmic "eighth-note pulsation", an accompaniment which returns in the piece's fourth movement.[21] The movement comes to a head in the climactic recapitulation, before the music recedes in the final bars, closing quietly. Throughout the movement, G major, the relative major key, serves, in a conventional manner, as the key of the second theme of the "Moderato"; however, the keys of B-flat major and B-flat minor, a tritone from the tonic, also play a particularly notable role in the movement's modulations, with there being multiple occurrences of tonicizations from these keys.[20] According to conductor and author Michael Mishra, this movement shows Shostakovich in a "neoclassical vein", containing melodies "almost Haydnesque in character", and with the slow introduction to a faster movement being "a nod in the direction of the Classicists".[20]

Allegro con brio

The second movement, in F-sharp major, is a frenzied, sardonic scherzo which moves relentlessly through dissonant figurations, never resting. The movement's trio section, in G major, is a "giddy waltz",[22] and is less separate from the rest of the movement than is usual for Shostakovich.[18] Sollertinsky's sister considered the movement to be "an amazingly exact portrait" of her brother, whom she said Shostakovich "understood like no one else".[23][16] It also bears similarities to the scherzo movement from his Piano Quintet.[24]

Largo

The third movement, in B-flat minor, is a lugubrious passacaglia, based around a repeating eight-bar theme of sustained semibreve chords in the piano, tonally unstable in character.[25] Against this background, the violin and cello, playing in canon, trade off dark, slow, and somber melodic lines. The movement ends with an attacca marking, continuing into the next movement without a pause.[21] In 1975, after Shostakovich's death, this movement was played at his public funeral service held in the Grand Hall of the Moscow Conservatory, as thousands passed his coffin.[26][22]

Allegretto — Adagio

The piece's fourth and final movement begins in E major and transitions to E minor. Staccato repeated notes begin this "Dance of Death" movement, which introduces a Jewish-style melody, and revisits the thematic content of the previous three movements. It ends in a tortured E major chord, almost inaudibly.

The Jewish melody from this last movement was quoted in Shostakovich's String Quartet No. 8.[27]

Ian MacDonald says in his book The New Shostakovich that the movement was inspired by the composer's horror at reports that SS guards in Nazi death camps had forced Jews to dance by their own graves.[22][28]

Recordings

Year of Recording Year of Release Violinist Cellist Pianist Label Reference
1947 1998 David Oistrakh Miloš Sádlo Dmitri Shostakovich The Classical Russia Revelation (RV70006) [29]
1959 2008 Leonid Kogan Mstislav Rostropovich Emil Gilels Doremi (DHR-7921-5) [30]
1984 (Live, Moscow) 1997 Oleg Kagan Natalia Gutman Sviatoslav Richter Live Classics (LCL 172) [31]
1987 1988 Isaac Stern Yo-Yo Ma Emanuel Ax CBS Records (MK 44664) [32]
1997 1997 Joshua Bell Steven Isserlis Olli Mustonen Decca Records (452 899-2) [33]
1998 (Live, Tokyo) 1999 Gidon Kremer Mischa Maisky Martha Argerich Deutsche Grammophon (459 326-2) [34]
2015 2016 Zsolt-Tihamér Visontay Mats Lidström Vladimir Ashkenazy Decca (478 9382) [35]

References

Citations

  1. ^ a b Mishra 2008, p. 152.
  2. ^ a b c Fay 2005, p. 141.
  3. ^ Phillips 2001, p. 22.
  4. ^ Mishra 2008, pp. 152–3.
  5. ^ Fay 2005, p. 140.
  6. ^ Moshevich 2004, p. 110.
  7. ^ Stuart 2022.
  8. ^ Sollertinsky & Sollertinsky 1980, p. 117–8.
  9. ^ Sollertinsky & Sollertinsky 1980, p. 116.
  10. ^ a b Fay 2005, p. 142.
  11. ^ McCreless 1995, p. 113 n. 1.
  12. ^ a b Moshevich 2004, p. 112.
  13. ^ a b Moshevich 2004, p. 113.
  14. ^ Fanning 2008, p. 339.
  15. ^ Moshevich 2004, p. 113–4.
  16. ^ a b Fay 2005, p. 143.
  17. ^ Volkov 1979, p. 278.
  18. ^ a b Mishra 2008, p. 154.
  19. ^ Hertz 2016.
  20. ^ a b c Mishra 2008, p. 153.
  21. ^ a b Moshevich 2004, p. 111.
  22. ^ a b c Keller 2017.
  23. ^ Mishra 2008, pp. 153–4.
  24. ^ Mishra 2008, p. 130.
  25. ^ Henderson 2000, p. 54.
  26. ^ Gíslason 2019.
  27. ^ Kuhn 2008, p. 53.
  28. ^ MacDonald 1990, p. 173.
  29. ^ Shostakovich, Sádlo & Oistrakh 1998.
  30. ^ Gilels, Kogan & Rostropovich 2008.
  31. ^ Kagan, Gutman & Richter 1997.
  32. ^ Stern, Ma & Ax 1988.
  33. ^ Bell, Isserlis & Mustonen 1997.
  34. ^ Argerich, Kremer & Maisky 1999.
  35. ^ Ashkenazy, Lindström & Visontay 2016.

Notes

  1. ^ Shostakovich's dedication of the piece has been compared to the dedications of piano trios of other Russian composers: Sergei Rachmaninoff's dedication of his Trio élégiaque No. 2 to the memory of Tchaikovsky after his death; Tchaikovsky's dedication of his own Piano Trio to the memory of Nikolai Rubinstein; and Anton Arensky's dedication of his First Piano Trio to the memory of cellist Karl Davydov.[7][8][1]
  2. ^ Sádlo first met Shostakovich one year earlier in 1946 during his visit to Russia. Sádlo was excited to record the work with Shostakovich, and later wrote: "My admiration for the man already knew no bounds, but imagine my astonishment when I discovered that he was not only a great composer, but a virtuoso pianist as well!". Oistrakh himself said of the performance: "Without meaning to boast, I believe that this recording of the trio is the best of all that I have heard".[12] Shostakovich, in both recordings, takes a significantly faster tempo in the first movement.[13][14] According to pianist and Shostakovich researcher Sofia Moshevich, "Shostakovich's playing, on the whole, is truly remarkable in this movement, exhibiting an extremely wide dynamic range and powerful rhythmic drive. His dynamics and inner energy in shaping the culmination in both recordings ... is unforgettable.[15]
  3. ^ The tempo is marked "Allegro con brio" in the 1983 Collected Works edition, while some earlier editions have it as "Allegro non troppo".[18][13]

Sources

Books

  • Fanning, David (2008). "Shostakovich on record". In Fairclough, Pauline; Fanning, David (eds.). The Cambridge Companion to Shostakovich. Cambridge: Cambridge University Press. ISBN 978-0-521-84220-4.
  • Fay, Laurel E. (2005). Shostakovich: A Life. Oxford: Oxford University Press. ISBN 978-0-195-18251-4.
  • Kuhn, Judith (2008). "The string quartets: in dialogue with form and tradition". In Fairclough, Pauline; Fanning, David (eds.). The Cambridge Companion to Shostakovich. Cambridge: Cambridge University Press. ISBN 978-0-521-84220-4.
  • McCreless, Patrick (1995). "The cycle of structure and the cycle of meaning: the Piano Trio in E minor, Op. 67". In Fanning, David (ed.). Shostakovich Studies. Cambridge: Cambridge University Press. ISBN 978-0-521-45239-7.
  • MacDonald, Ian (1990). The New Shostakovich. Boston: Northeastern University Press. ISBN 1-55553-089-3.
  • Mishra, Michael (2008). A Shostakovich Companion. Westport: Praeger. ISBN 031330503X.
  • Moshevich, Sofia (2004). Dmitri Shostakovich, Pianist. Montreal: McGill–Queen's University Press. ISBN 978-0-7735-7125-9.
  • Phillips, Anthony, ed. (2001). Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman. New York: Cornell University Press. ISBN 0-80143-979-5.
  • Sollertinsky, Dmitri; Sollertinsky, Ludmilla (1980) [1979]. Pages from the Life of Dmitri Shostakovich. Translated by Hobbs, Graham; Midgley, Charles. New York and London: Harcourt Brace Jovanovich. ISBN 978-0-151-70730-0.
  • Volkov, Solomon, ed. (1979). Testimony: The Memoirs of Dmitri Shostakovich. Translated by Bouis, Antonina W. New York: Harper & Row. ISBN 0-87910-021-4.

Articles

  • Braun, Joachim (1985). "The Double Meaning of Jewish Elements in Dimitri Shostakovich's Music". The Musical Quarterly. 71 (1): 68–80. doi:10.1093/mq/LXXI.1.68. JSTOR 948173.
  • Fankhauser, Gabriel (2013). "Cadential Intervention in Shostakovich's Piano Trio in E minor, Op. 67". Music Analysis. 32 (2): 210–50. doi:10.1111/musa.12012. JSTOR 43864511.
  • Henderson, Lyn (2000). "Shostakovich and the Passacaglia: Old Grounds or New?". The Musical Times. 141 (1870): 53–60. doi:10.2307/1004371. JSTOR 1004371.

Program Notes

Recordings

Further reading

  • Cassidy, Robert (2006). A comparison of passacaglias in piano trios by Ravel and Shostakovich from a historical and theoretical perspective (D.A.). Ball State University.
  • Chong, Yew-Yoong (2004). The Piano Trios of Dmitri Shostakovich (D.M.A.). University of Alabama.
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