Dmitry Shostakovich and Mechislav Weinberg: about style intersections in a genre of string quartet
The article is devoted to the problem of stylistic intersections in the string quartets of two of the largest representatives of Russian musical culture of the 20th century – Dmitry Shostakovich and Mechislav Weinberg. Obviously, the leading role in the evolution of the quartet genre in the past century belongs to Shostakovich, whose string quartets still remain a unique phenomenon that has a special power of artistic influence. However, a very original page in the domestic history of the string quartet is the quartet works of Weinberg, a contemporary and friend of Shostakovich, who has long been undeservedly ranked among his “epigones”. Through the prism of style proximity and, at the same time, implementation of some features of individual composer writing, the individual components of the musical language and instrumental expressive techniques of string ensembles of Shostakovich and Weinberg are considered. The mutual desire of composers to unite the cycle into a single whole, genre synthetics, expansion of technical abilities arsenal of both individual instruments of the quartet, and the entire ensemble, the predominance of the monological type of musical speech, and, finally, the presence of folkloric intonationsare all indicators of the commonality of the style means complex inherent in their quartet art. Meanwhile, the uniqueness and originality of the artistic content and emotional content of string quartets by both Shostakovich and Weinberg exclude any imitation or one-sided stylistic influence, more likely confirming the creative interaction of two contemporary artists, their unidirectional movement along the evolution of the string quartet genre in Russian music of the 20th century.
Dmitry Shostakovich, Mechislav Weinberg, string quartet, quartet genre, quartet art, composer’s style.