AN ANALYTICAL STUDY OF STRING QUARTETS BY MIECZYSŁAW WEINBERG AND DMITRI SHOSTAKOVICH

Abstract

This dissertation investigates the complex artistic relationship between Soviet composers Mieczysław Weinberg and Dmitri Shostakovich through a comparative analysis of their string quartets. Spanning three stylistic periods—early, middle, and late—the study reveals how their friendship fostered mutual influence while allowing each to cultivate a distinct musical identity. The early period (1939–1956) highlights their shared incorporation of Jewish musical elements, with Weinberg expressing cultural heritage and Shostakovich embedding covert political critique. The middle period (1957–1970) demonstrates Weinberg’s shift from direct borrowing to broader stylistic synthesis, blending Shostakovich’s techniques with influences like Bartók, while their “friendly competition” spurred structural innovation. The late period (1973–1986) explores their divergent engagement with twelve-tone methods: Shostakovich integrated rows within tonal frameworks, whereas Weinberg embraced harmonic ambiguity and fluid transitions. Drawing on score analysis, historical documents, and secondary scholarship, the study underscores how both composers navigated Soviet cultural constraints. The dissertation concludes that their artistic exchange evolved from intimate collaboration to independent innovation, enriching twentieth-century chamber music. By contextualizing their works within political and cultural dynamics, this research contributes to understanding how creative dialogue coexists with individuality in oppressive regimes.