DSCH motif

DSCH is a musical motif used by the composer Dmitri Shostakovich to represent himself. It is a musical cryptogram in the manner of the BACH motif, consisting of the notes D, E-flat, C, B natural, or in German musical notation D, Es, C, H (pronounced as "De-Es-Ce-Ha"), thus standing for the composer's initials in German transliteration: D. Sch. (Dmitri Schostakowitsch).

By Shostakovich
The motif occurs in many of his works, including:
 * Violin Concerto No. 1 in A minor, Op. 77
 * Fugue No. 15 in D-flat major, Op. 87 (only once, in the stretto)
 * String Quartet No. 5 in B-flat major, Op. 92
 * Symphony No. 10 in E minor, Op. 93
 * String Quartet No. 6 in G major, Op. 101 (Played all at once by the four instruments at the end of each movement)
 * String Quartet No. 8 in C minor, Op. 110 (appears in every single movement)
 * Symphony No. 15 in A major, Op. 141.
 * Piano Sonata No. 2 in B minor, Op. 61 (questionable)

By others
Many homages to Shostakovich (such as Schnittke's Prelude in memory of Dmitri Shostakovich or Tsintsadze's 9th String Quartet) make extensive use of the motif. The British composer Ronald Stevenson composed a large Passacaglia on it. Also Edison Denisov dedicated some works (1969 DSCH for clarinet, trombone, cello and piano, and his 1970 saxophone sonata) to Shostakovich, by quoting the motif several times and using it as the first four notes of a twelve-tone series. Denisov was Shostakovich's protégé for a long time.

The DSCH motif also appears in the orchestral accompaniment of Viola Concerto (Walton) - (1929) in bars 115-116 (up a minor 6th - 'B', 'C', 'A', 'G#') and in 122-123 (at the original pitch - 'D', 'Eb', 'C', 'B') of the First Movement (Andante Comodo) and, during the orchestral tutti before the Recapitulation of the same movement. This was never confirmed by William Walton (a contemporary of Shostakovich) himself, although he did refer to Dmitri Shostakovich as "the greatest composer of the 20th century".