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Shostakovich - String Quartets Nos 10, 12 and 14 ~ Dmitry Shostakovich
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On this CD:
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String Quartet No. 4 in D
Composed by Dmitry Shostakovich
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String Quartet No. 6 in G
Composed by Dmitry Shostakovich
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String Quartet No. 8 in C minor
Composed by Dmitry Shostakovich
Product Description
Amazon.co.uk Review
With interest in Shostakovich, the man and his music, showing no sign of slowing down, it's good to see his 15 String Quartets gaining recognition for the revealing and often disturbing "inner autobiography" that they are. No. 4, written at a time (1949) when Soviet Jewish culture was under real threat, has a tangible sense of laughter through tears that must have proved heartening to those few able to hear what was then an "underground" work. No. 6 (1956) has a similarly bitter-sweet quality, though here the music is more relaxed, with a Haydnesque wit in the genial scherzo and leisurely finale. No. 8 has long been the most performed, unfairly in some ways, as it's by no means the best or the most representative of the series. What it does have is "near the bone" intensity, the outcome of three days of anguished soul-searching while the composer surveyed the physical and cultural ruins of Dresden in 1960. The St Petersburgs rightly go for the jugular here; elsewhere, their tense, high-energy approach doesn't always allow room for emotional give-and-take. A promising further instalment, even so, in what's proving a distinctive traversal of the cycle. --Richard Whitehouse
With interest in Shostakovich, the man and his music, showing no sign of slowing down, it's good to see his 15 String Quartets gaining recognition for the revealing and often disturbing "inner autobiography" that they are. No. 4, written at a time (1949) when Soviet Jewish culture was under real threat, has a tangible sense of laughter through tears that must have proved heartening to those few able to hear what was then an "underground" work. No. 6 (1956) has a similarly bitter-sweet quality, though here the music is more relaxed, with a Haydnesque wit in the genial scherzo and leisurely finale. No. 8 has long been the most performed, unfairly in some ways, as it's by no means the best or the most representative of the series. What it does have is "near the bone" intensity, the outcome of three days of anguished soul-searching while the composer surveyed the physical and cultural ruins of Dresden in 1960. The St Petersburgs rightly go for the jugular here; elsewhere, their tense, high-energy approach doesn't always allow room for emotional give-and-take. A promising further instalment, even so, in what's proving a distinctive traversal of the cycle. --Richard Whitehouse
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