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Like most people, I first got to know about Shostakovich from the symphonies. At university in the late 70s I spotted one of the Fitzwilliam LPs (I think it was quartets 9 & 10) and thought it was worth a listen. I was bowled over. I saved my paltry grant to get the set on vinyl (at full price in those days), and as soon as I saw the set re-issued on CD I was at the counter.
There is great music in the Shostakovich symphonies, but the quality of the music is quite variable within and between works. We can (and do) argue historically about why that may be: what the quartets prove is that Shostakovich was truly a composer of the first rank - perhaps the Beethoven of the 20th Century: an all too-human genius.
Shorn of the brilliance of orchestration to be found in the symphonies, Shostakovich runs us through a virtuoso range of musical styles encompassing brilliant polyphony, tone rows, neo-classicism and virtual minimalism. The quartet is made to sound like a single wonderful instrument - for which, on this recording, the Fitzwilliams must, of course, also take great credit.
My particular favourite is probably quartet No. 12, which after starting with a set of waltzes and melancholic interludes, goes into a scherzo that can only be described as manic and then has a breathtaking finale that takes a simple motif from the earlier interludes that is wound into ever more complex and exuberant patterns in a manner not dissimilar to the final of Mozart's Jupiter symphony.
The 8th quartet is almost Shostakovich's own greatest hits as it winds a number of themes from older works together into a whole of terrifying intensity. Written in Leningrad during the siege, it could easily have been the composer's last work. The composer's last major work turned out to be quartet 15, surely Shostakovich's own epitaph with six Adagio movements, one of which is designated a funeral march. The tone is generally ruminative, almost minimalist.
I can't compare this against any other sets - I have heard various versions of other quartets, particularly the 8th, and the Fitzwilliams stand up well against any of them. Sound quality is generally very high. As mentioned above, the great thing about the playing on this collection is the quality of the ensemble work. I believe that they worked with the composer on how he wanted these pieces to be played. It certainly sounds that way.
Let these quartets work themselves into your life, and then go and buy Tatiana Nikolayeva's version of Shostakovich's Preludes & Fugues... but that's a different story!
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