Customer Reviews

Shostakovich: String Quartets Nos. 2, 3, 7, 8 & 12

5 star:		(7)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

These five Shostakovich string quartets were recorded by the Borodin Quartet in London in 1990, and the performance and recording are absolutely brilliant, to match the compositions. (The earlier complete cycle of 15 quartets, recorded in the 1980s by an earlier line-up of the Borodins, is no longer available.)

Quartets 2 and 3, which open and close this set, were written respectively in 1944 and 1946, expressions of DSCH in his prime, during the war and its immediate aftermath. They are among his finest works, too rich in mood and style to summarize briefly. The 8th Quartet of 1960 is his best known, and it was publicly dedicated to "the victims of war and fascism." Of course the interpretation of that phrase by the Soviet officials was at variance with what we now know to be DSCH's view. I heard the Kronos Quartet recording (on BLACK ANGELS) before this one (see my review) -- by comparison it is harder-edged, emphasizing the bitter rage at the perpetrators, while the Borodin recording emphasizes grief and quiet desolation. Or in other words, the Kronos recording is strong in the louder passages, while the Borodin recording is more expressive and convincing in the slower, quieter passages, which predominate. The 7th Quartet (also of 1960), in honor of Shostakovich's first wife Nina, who died in 1954, is in three movements, and concludes with a powerful raging allegro. Finally, the 12th Quartet, completed in 1968, is in two movements. It can here be seen to represent the "late quartets," 12-15, all of which are dark works written as Shostakovich's health failed and he was in and out of hospitals. The 12th is a powerful, memorable work that continues to show an amazing range, the baring of a complex soul.

Along with the best of Shostakovich's symphonies, his best string quartets are among the finest music of the 20th century, and should be heard by absolutely all music-lovers. Though chronologically later, this is not music that extends the radical innovations of Schoenberg (and Bartok's string quartets). Shostakovich's music is not exactly neo-classical, or neo-romantic, but the modernist elements in his work are integrated seamlessly into a mainly tonal, lyrical conception that makes it more acceptable to the average concert-goer than the music of many of DSCH's contemporaries in the West. Dark and gloomy, yes, but not a radical departure from "the classical tradition."

This 2-disc selection of 5 Shostakovich quartets is arranged with quartets #2 and #12 on the first disc, #8, #7 and #3 (in that order for some reason) on the second.

It seems to me that far and away the best sequence for listening to them is the chronological sequence of publication, which to the best of my knowledge is also the sequence of their composition. Shostakovich's output is a pilgrim's progress. His music tracks his states of mind, and with the quartets we can try to follow those comparatively free from external political influences and the pressing practical need to adopt public and official personae. These quartets have far more unity and consistency of style than do the symphonies and concertos, and it is far easier for the hearer to gain a feel for the composer's real private identity. 3 of the 5 here are in major keys, but the prevailing mood is sombre and introverted in all of them. It almost goes without saying that this is not `absolute' music - the music by itself is not the whole story as it is in the quartets of Borodin or Brahms. The listener needs to read the composer's mind-set as best he can, with or without help from the composer's biography. If anyone wants my advice, it would be to persevere without that for a while, as music of this stature demands to be heard for itself.

There are no early works here - the second quartet has the opus-# 68 - and one of the things I like best about them is that they are `genuine' quartets, if that expression may be excused. More or less nobody's quartets consist of absolutely pure four-part writing, but there are cases, even including such great works as Franck's quartet or Schumann's quintet, where the string-writing is really for a miniature string band or orchestra rather than a distinctive quartet. Shostakovich is not afraid to relax the idiom at times, notably in the recitative movement of the second quartet (and why should he be? - neither was Beethoven, neither was Brahms), but fundamentally he is as faithful to the quartet concept as Haydn himself.

The recorded sound is excellent without drawing attention to itself in any way, as it does in the Borodins' great disc of Borodin's own quartets. The performances strike me as exemplary in their sympathy and understanding as well as proficiency, and the whole production ranks as what Thucydides called `a possession for ever', meaning by that a thing to be returned to over and over again. It's a classic that will not soon be supplanted.

This 2-CD set contains the 1990 recordings by the Borodin String Quartet of 5 major Shostakovich Quartets for Virgin Classics (now EMI/Virgin Classics). The Borodin String Quartet recorded a complete cycle in Moscow between 1978 and 1983 (originally released in the west as an EMI box set, but now availabe as a BMG/Melodiya box set through Amazon). These beautiful 1990 digital recordings of 5 of the 15 quartets represent the best anthology of the Shostakovich quartets available today and should not be missed. Although the readings are different--less emotional, more meditative--these performances are as intense and committed as the earlier ones and should not be missed, not even by those who own the complete set recorded by the Borodin String Quartet. All the more tempting by the fact that this 2-CD set is offered for less than the price of 1, an incredible bargain!

I respect the five-star reviews here, but for me this super-bargain selection of Shostakovich quartets sounds a bit tame. One must grant that the Borodin Qt. has long been acclaimed for its readings of these works, but there were two previous sets, one from 1967-71 with the original members (available on Chandos), another from 1978-83 with a new first and second violinist after the emigration of the two original members (recorded by Melodiya, licensed in the West to EMI and BMG). Both are acknowledged as nearly definitive, even though the earleir set lacks the last two quartets, #14 and #15, which had yet to be composed.

These 1990 performances, recorded at the Maltings, Snape in nice digital sound, are typical of the Borodins in their later phase: they sound accomplished, relaxed, and highly experienced. Those are all pluses, and yet when one turns to the competiiton, which is fierce, one hears more drama, commitment, and virtuosity in the Emerson Qt., while at super-budget there is the Shostakovich Qt., who have mastered the idiom within a hair's breadth of their more famous compatriots. In other words, I don't think the later Borodins quite measure up to their earlier selves or to the best of what came after.

Having said that, there's a settled, autumnal quality to these recordings that will always appeal to listeners.

This is a bargain two CD set in an all digital recording. This is really just the Borodin String Quartet in name only, but to a degree they retain the high standards that the original members had. The performance are just a tad off the high marks that the original members had and this set is well worth it's weight in silver if not gold.

Here is a blow by blow description of each quartet featured in this release:

String Quartet No.2 - A wartime work composed in 1944. Shostakovich composed this as sort of an experiment into the world of the string quartet after having taken a break from his first string quartet in 1938. The work has almost a divertimento flavor at first. But it is a long string quartet. The first movement is called "Overture" and is the closest thing Shostakoivch ever wrote that might remotely resemble Country and Western music! Then there is the meditative "Romance and Recitative." This is followed by a scherzo marked "Valse." Very slowly this string quartet changes from what seems to be something slight to something of depth with the finishing "Theme and Variations."

String Quartet No.3 - This is a post-war work that is about the war. At one time each movement had a subtitle. I don't have those subtitles handy, but let me assure you they were not politically correct and questioned the war which had been fought. It is in five movements. I am at loss for words as what to say more about this string quartet I should let the music speak for itself. I just want to say that this is one of Shostakovich's key string quartets. It is the cornerstone by which each string quartet that followed it was based on. I should liken this quartet to Beethoven's "Eroica" symphony, both with the same number, three, with it's strong emotional content and appeal.

String Quartet No.7 - This is from the year 1960 the same year as the 8th string quartet. It is the shortest string quartet, but of high inspiration. It is dedicated to Shostakovich's third and final wife.

String Quartet No.8 - This is the most famous string quartet of Shostakovich and is both a key and popular work. It is in five movements. It is dedicated "To the Victims of Fascism and War." That is the official title at least. It might be more accurate to call this Shostakovich's biographical string quartet. There are quotations from the Cello Concerto No.1 (1959) as well as the Piano Trio No.2 (1944). What these quotations mean is a mystery to me. But Shostakovich is very good at knitting music together so that it seems that it is all one fabric.

String Quartet No.12 - This is Shostakoivich venture into psuedo-12 tone technique. How appropriate the number of the string quartet then being the number twelve. It is the first of a trio of works that are atonal and almost have tone rows. The other two works being the Violin Sonata and the 14th symphony. This then becomes automatically another key work in Shostakovich's string quartet output. This is one quartet that might need repeat listenings to get. It is a tougher nut to crack. Those who like serial music will only be mildly amused and in fact I heard some "advanced" listeners saying this isn't much of a challenge at all. It all depends on perspective I suppose.

So for a bargain price you get three key Shostakovich string quartets (3, 8, and 12). One of which is his most popular string quartet (No.8). Plus two bonus string quartets that are of high quality also (2 and 7). The playing is a bit tame, but then again I love the all digital sound that these recordings offer. In short no tape his from analog recordings. A recommended beginner set.

Many think that the Borodins' recorded performances of the Shostakovich quartets, especially those made earlier in their career, are definitive. Some critics have complained that these more recent recordings show that the players had lost their "edge". What is missing is the distortion introduced in earlier recordings by the Russian engineers. These recordings are very good. All five of the Shostakovich quartets on these two CDs are superbly played. The performance of the 8th is stunning. Anyone who enjoys chamber music or Shostakovich should not miss this two CD set.

shostakovitch wrote crazy awesome music, and worked with the borodin string quartet while he was composing quartets; this suggests (to me) that the borodin quartet is the best suited in the world to interpret his works; though the original members who worked with shostakovitch no longer play in the group, the original cellist was still with the group at the time of this recording, and surely, experience, knowledge, and wisdom have been shared with new members as they were introduced to the group.

this is amazing, powerful, often bewildering stuff- i love it.

It's stupidly inexpensive, it's TWO discs, it should be badly recorded garbage.
And it's absolutely brilliant.

Amazing music, performed with consummate skill and musicality.