Dmitri Dmitriyevich Shostakovich (Russian: Дми́трий Дми́триевич Шостако́вич 25 September 1906 – 9 August 1975) was a Russian composer and pianist, and a prominent figure of 20th-century music. String Quartet No. 9 in E flat major, Op. 117 (1964) 1. Moderato con moto 2. Adagio 3. Allegretto 4. Adagio 5. Allegro Fitzwilliam Quartet Description by Robert Cummings In the eyes of Soviet officials, Shostakovich had been the loyal artist of his country's people for nearly a decade following the death of Josef Stalin, in 1953. He had even become a member of the Communist Party on September 14, 1961, a status one would think hard to reconcile with the view of the composer as a dissident. However, in 1962 he created quite a stir with his Thirteenth Symphony ("Babi Yar"), mainly because of the controversial texts by Yevtushenko. Thereafter, Shostakovich was in and out of favor with the party censors. He wrote the Ninth Quartet not long after the appearance of the Thirteenth Symphony, and his attitude toward composition in general seemed to have permanently changed by then: there would not be another major composition associated with the Revolution or a patriotic event. The Ninth Quartet is cast in five continuous movements, whose interrelationships have more to do with harmonies -- notably in the accompaniment to the main theme of the first movement -- and with rhythmic elements. Clearly, the structure of this work and its generally dark nature relate more to the "dissident" Shostakovich than to the loyal party member Shostakovich. The first movement is calm, almost serene, yet cynical and ominous, too. It is a typical Shostakovich creation, with the main theme sounding philosophical and the middle section jaunty and sarcastic. The ensuing Adagio has an almost religious air in its solemnity. The third movement Allegretto is witty and rhythmic, probably the brightest panel of the five, despite hints of darkness and cynicism. Another Adagio follows, this one of a strange, brooding character, especially in the pizzicato passages in the middle section, where the music seems almost to come to a stop. The final Allegro, the longest movement by far, begins with a rush of energy and contains much material from the preceding Adagio, as well as from other movements. If the overall character of this quartet is sometimes hard to pin down, at times sounding serious and even happy, it is due to that elusive thread that runs through much of the composer's music, where often one finds hidden meanings and deep symbolism. There is generally a feeling throughout this work of the expression of anger or tension being suppressed, although there is some release of these emotions in the finale. Shostakovich's uncertain status with Soviet officials at the time he wrote the quartet would certainly support such a view of the work.

• published: 15 Dec 2014
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