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Lady Macbeth of Mtsensk, Act III, Scene 6, Op. 29

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Dmitri Shostakovich Musical Analysis

Name: Lu Yu
Student Id: 1002266745
Advance Tonal Analysis MCP1013
January-April 2023
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I. Introduction
Dmitri Shostakovich's relationship with the Soviet regime was fraught with tension and
controversy. As an artist in the Soviet Union, he constantly faced pressures from the government
and the genre of Socialist Realism, which imposed strict guidelines on artistic expression.
Shostakovich's music often defied these guidelines, leading to severe criticism and censorship
from the Soviet authorities (Fairclough, 2017).
One of Shostakovich's most controversial works was the opera Lady Macbeth of Mtsensk.
This opera tells the story of a bored and unhappy housewife who embarks on a series of affairs
and murders in order to escape her mundane life. The opera's premiere in 1934 was a critical and
popular success, but it soon fell out of favor with the Soviet authorities. Stalin himself attended a
performance and reportedly walked out, leading to a scathing review in the state newspaper
Pravda that accused Shostakovich of "formalism" and "vulgarity" (Fay,2000).
Despite the backlash, Lady Macbeth of Mtsensk remains a significant work in
Shostakovich's career and in the history of Soviet music. The opera's themes of oppression,
violence, and individuality challenged the Soviet authorities' vision of art and society, and its
innovative use of dissonance and unconventional structures marked a new era in Soviet music
(Taruskin, 2010).
Act III, Scene 6 is a pivotal moment in the opera's narrative. This scene depicts the murder
of Boris, Katerina's father-in-law, by poisoning. The scene is notable for its use of musical
motifs and its intense emotional and dramatic impact on the audience. This scene also marks a
turning point for Katerina, as she becomes increasingly ruthless and desperate in her quest for
power and freedom.
II. Music Analysis
Instrumentation
The instrumentation used in Lady Macbeth of Mtsensk, Act III, Scene 6 is a large orchestra
consisting of strings, woodwinds, brass, percussion, and harp. Shostakovich employs a variety of
percussion instruments, including timpani, snare drum, cymbals, bass drum, and xylophone, to
create a sense of urgency and tension in the music (Musescore, 2023). He also uses the clarinet
and the harp to provide moments of introspection and reflection in the scene (Fay,2000).
Musical Structure
The scene is composed of several distinct sections, each marked by changes in tempo, key,
and mood. The opening section is marked by a driving, repetitive rhythm in 4/4 time, with a
tempo marked allegro. The music gradually builds in intensity as Katerina and Sergei prepare to
carry out the murder. As the murder takes place, the music becomes frenzied and dissonant,
marked by sudden shifts in tempo and dynamics. Following the murder, the music becomes more
introspective and mournful, marked by a slower tempo and a shift to the key of B-flat minor. The
final section returns to the driving, rhythmic music of the opening, but now with a more
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menacing, threatening quality. The music builds to a climactic moment before abruptly cutting
off (Taruskin, 2010).

Figure 1: Scene opening

Melody and Harmony
The melody and harmony in this scene are dissonant and tense, reflecting the drama and
conflict of the moment. The vocal melodies are characterized by angular leaps and wide intervals,
which create a sense of tension and unease. For example, the opening vocal line sung by
Katerina begins with a descending leap of a minor seventh and is followed by a rising major
sixth. This intervallic leap creates a sense of desperation and longing, conveying the emotional
turmoil that Katerina is experiencing. The use of minor keys and chromaticism in the melody
adds to the dissonance and tension (Ross, 2007).
The instrumental melodies in this scene are equally tense and dissonant. The strings and
brass sections are used to create a sense of foreboding and urgency. The use of glissandos,
tremolos, and dissonant harmonies in the strings and brass sections heighten the sense of unease
and apprehension aftermath (Fanning, 2005).
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Figure 2: Tense tone

The harmonic progression in this scene is also dissonant and unstable, reflecting the sense
of chaos and uncertainty. The chords used in this scene are often atonal or dissonant, with
unexpected chord changes adding to the sense of unease. The use of clashing harmonies, such as
minor seconds and tritones, creates a sense of tension and conflict.
Semiotic Analysis
Semiotics is the study of signs and symbols and their meanings. In the context of music,
semiotics involves examining how musical elements such as melody, harmony, and rhythm are
used to communicate meaning (Wilson, 2000).
In Lady Macbeth of Mtsensk, Act III, Scene 6, Shostakovich uses a variety of musical
elements to communicate meaning and enhance the drama of the scene. One example of this is
the use of rhythmic patterns to create a sense of urgency and tension. The driving, repetitive
rhythm in the opening section, for instance, underscores the monotony and oppressive nature of
life in Mtsensk, while also foreshadowing the violent events to come. Similarly, the sudden shifts
in tempo and dynamics throughout the scene create a sense of unpredictability and instability,
reflecting the chaotic emotions of the characters and the violent nature of the murder.

Figure 3: Rhthimic patterns used

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Another example of semiotics in the scene is the use of recurring themes and motifs. The
use of a solo clarinet melody, for instance, is a recurring theme associated with Katerina's
introspection and regret. This theme serves as a signifier for Katerina's inner turmoil and the
emotional weight of her actions. Similarly, the use of percussive outbursts and brass fanfares
throughout the scene creates a sense of chaos and violence, serving as a signifier for the violent
nature of the murder and its aftermath (Fanning, 2005).
Narrative Analysis
Narrative analysis involves examining how elements of a story are structured to create
meaning and affect the audience's interpretation of the narrative. In the context of music,
narrative analysis involves examining how the music is structured to create a sense of narrative
arc and underscore the dramatic tension of the story (Orlova, 2001).
In Lady Macbeth of Mtsensk, Act III, Scene 6, the music is structured in a way that mirrors
the narrative arc of the scene. The opening section, marked by a driving, repetitive rhythm,
reflects the monotony and oppressive nature of life in Mtsensk. As the murder takes place, the
music becomes frenzied and dissonant, reflecting the chaotic emotions of the characters and the
violent nature of the act. The mournful section that follows the murder reflects the emotional
aftermath of the act, with the music becoming more introspective and mournful. The final section
returns to the driving, rhythmic music of the opening, but now with a more menacing,
threatening quality, reflecting the consequences of the murder and the escalating tensions of the
narrative (Orlova, 2001).
III. Conclusion
In conclusion, Dmitri Shostakovich's Lady Macbeth of Mtsensk, Act III, Scene 6, Op. 29 is
a powerful example of the composer's ability to use music to convey complex emotions and
narratives. Through the use of semiotic and narrative analysis, we can see how Shostakovich
uses a variety of musical elements, including rhythm, harmony, and melody, to create a sense of
urgency, tension, and emotional weight in the scene. Additionally, the vocal writing, with its use
of recitative and aria-like sections, serves to underscore the dramatic tension of the narrative and
highlight the emotional states of the characters. Overall, Lady Macbeth of Mtsensk, Act III,
Scene 6 is a masterful example of Shostakovich's compositional skills and his ability to use
music to tell a powerful and emotionally charged story.
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References
1.Fairclough, P. (2017). Shostakovich's Lady Macbeth of Mtsensk: Stalin's Response. In
Shostakovich Studies 2 (pp. 93-118). Cambridge University Press.
2.Fanning, D. (2005). Shostakovich Studies 2. Cambridge University Press.
3.Fay, L. (2000). Shostakovich: A Life. Oxford University Press.
4.Musescore. (2023). Lady Macbeth of Mtsensk, act.iii, scene 6, Op.29 – Dmitri Shostakovich
Lady_macbeth_of_mtsensk ACT.III, scene 6, op.29. Musescore.com. Retrieved February
26, 2023, from https://musescore.com/user/47469701/scores/9482527
5.Orlova, M. (2001). Soviet Music and Society under Lenin and Stalin: The Baton and Sickle.
Routledge.
6.Taruskin, R. (2010). Music in the Late Twentieth Century: The Oxford History of Western
Music. Oxford University Press.
7.Ross, A. (2007). The Rest Is Noise: Listening to the Twentieth Century. Farrar, Straus and
Giroux.
8.Wilson, E. (2000). Shostakovich: A Life Remembered. Faber & Faber.