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As requested by AlexTHEGreat627, here's a rendition of Shostakovich's 8th String Quartet with the Majora's Mask soundfont. It has frequently been stated that in his chamber music, particularly the string quartets, is where we find Shostakovich at his most personal. Operas, symphonies, and other more public genres would more easily find themselves under the scrutiny of the Soviet government, which could have proven fatal if they had considered his work unsatisfactory or inappropriate. That wasn't the case with chamber music, and so Shostakovich was able to show his feelings with greater freedom. The String Quartet No. 8 in C minor might be the biggest example of this phenomenon. Not only is it relentlessly bleak, but it also seems to focus on the composer himself with an emphasis seldom found in any of his other works. Quotations and hints to various of Shostakovich's previous works, including the Symphonies No. 1 and 5, the Piano Trio No. 2, the First Cello Concerto, and the opera "Lady Macbeth", abound throughout. On top of that, the quartet's most important motif is a trademark one that the composer had used a number of times before, but never to this degree. This motif consists of the notes "D, E-flat, C, and B". In German notation, this is read "DSCH", in other words, an abbreviation of the composer's own name. Inevitably, autobiographical intents are perceived by many listeners, but there's no real consensus as to exactly how. In that way, it also stands as an enigma. The quartet consists of five movements played without a break. Even still, it's remarkably compact and over before we know it, lasting only about 18 minutes overall. The first movement begins right away with "DSCH" being sung by each of the four instruments. The quotations arrive almost immediately, the first of these being the opening of Shostakovich's First Symphony (0:28-0:43). Overall, this slow and overwhelmingly somber movement sets the tone for the entire work, and even foreshadows its ending (1:34-1:42 and 3:51-3:57). The second movement, a manic and violent scherzo, arrives as a sudden jolt without very little warning (4:01). Of course, in the midst of the chaos, we can still hear "DSCH" intermittently appearing here and there, eventually taking the center stage (5:29). A variant of "DSCH" and a prolonged trill (6:55) interrupt the violence to usher in the third movement. The music has now become a waltz (7:08) which, while more controlled and less intense than the movement we heard before, still maintains a distinct air of bitterness or at the very least biting sarcasm. In this instance, "DSCH" makes itself prominent yet again, the variant I mentioned before serving as the basis for this waltz's main melody (7:10). The trill that followed it also makes its appearance now and then. Eventually, the tempo drastically slows back down to a "Largo" for the fourth movement (10:56). In it, dirge-like affairs are petered with strong three-note intrusions. Some have interpreted these to stand for gunshots, others for screeches. Most notably, "DSCH" is noticeably absent, and we get brief hints of the ancient Gregorian Chant "Dies Irae" (11:24-11:30 is one example of these), frequently used by composers to evoke themes of death. Interestingly, the first four notes of the "Dies Irae" are played by the first violin at the end of this movement (15:07-15:12) and are then followed by the familiar four-note "DSCH" motif (15:14-15:18), hinting at a connection between these two. What was Shostakovich trying to say here? And just like that, we've reached the fifth and final movement, which is in effect a reprise of the first both in content and character. In the end, after one last statement of "DSCH" (17:45), the music sinks and dies away into darkness. String Quartet No. 8 in C minor, Op. 110 Composer: Dmitri Shostakovich Soundfont: The Legend of Zelda: Majora's Mask Pokémon DPP version: • Shostakovich - String Quartet No. 8 in C m... Super Metroid version: • Shostakovich - String Quartet No. 8 in C m...