Shostakovich String Quartets

[slofstra]

Some years ago I purchased a complete set of the Shostakovich string quartets performed live by the Emerson String Quartet.
They're going a little fuzzy in the memory, so I began to play some of them again the other day, and boy, do I ever like this set.
Shostakovich is always delightful to the ear, but often it's music I don't understand. Let me take Brahms as a comparison on this point. After sitting in a Protestant church for a decade or two as a kid, I can understand where Brahms' music is trying to take me. It has similar roots to Protestant hymnal music, churning out that dark, deep, existential angst and drilled-in fear of Hell, and taking it to a better place, one that incorporates great sonic beauty and depth. That is most obvious in the 'Deutsches Requiem' but apparent throughout the symphonies and concertoes, and I can easily make sense of this music.
Through studies of Russian culture and literature, and their history, I feel more of a connection to Shostakovich and the context of his music, but this has been learned; it's not intuitve.
I don't at all mean this in a critical way, but sometimes Shostakovich can sound like P.D.Q. Bach. Like the final movement of the 5th symphony, there's a comic aspect to the music as if he's pulling a fast one on the censors and on Josef.
Of course, other sections are somber and meditative in the extreme.
I want to be careful not to insinuate that Shostakovich was anti-Communist, in the way that Americans project that every Russian would defect if they could. (Although many have, for certain, but ignorant reporters embarrassed Shostakovich when he came to America in the 1950s. It's known as the "Quiet American" syndrome). I think a more accurate conception is that the artist wishes to avoid ideology entirely, and just call things the way they see them, while avoiding parting 'this from this', as Polonius put it. This is how I understand Shostakovich's music. It's intensely Russian, tied to their history and the situation through the war and post-war period, but not intentionally pro- or anti- Communist. It's a big mistake to try and understand Russian culture purely as a response to Communist ideology, pro- or con-.
But back to the string quartets; they're exceptionally fine listening on a cold winter day; it's not getting above -10 C in the next week. Yes, I can hear "winter" in this music, especially in the Adagio of the 15th quartet, op. 144, that's on the player at this moment. It's stark and spare, and also very beautiful.
Do you listen to these often? What do you think of them?

[barney]

I love them. I also have the Emersons, and a couple of other performances (Borodin, Fitzwilliam quartets). I mostly listen to the big ones, 8, 9, 15. I also love his piano trios. For me, Stravinsky and Shostakovich, in that order, are the greatest composers of the 20th century.

[Rach3]

But back to the string quartets; they're exceptionally fine listening on a cold winter day; it's not getting above -10 C in the next week. Yes, I can hear "winter" in this music, especially in the Adagio of the 15th quartet, op. 144, that's on the player at this moment. It's stark and spare, and also very beautiful.
Do you listen to these often? What do you think of them?

Thanks for the reminder. I have recordings only of Quartets Nos.3,5,9 with the St.Petersburg Quartet, and No.8 with Kronos.I adore No.8, but the rest are still inscrutable to me, have put me off exploring beyond No.9, but with your words and Barney's perhaps I shall go forward. To date I find the 6 Bartok's more interesting, but in fairness I have not heard all the DSCH.Many far more knowledgeable than I, such as you and Barney,find the quartets DSCH's " best " works , and/or most intimate and revealing works.For me, to date, his other works I prefer , and I am a huge DSCH fan otherwise.


We are apparently having a week here courtesy of the Northwest Territories (Canada). At 6:30pm US CDT here , it is - 14C. ( 4F.) , heading for an overnight actual low air temp of - 27 C. ( -16F.).The "feels like" wind chill temp tonight is be a low of - 34C. ( -30F.).Until next Friday, our " highs" will not be above -10C. to -12C. ( 10F. to 12F.) , and actual air temp lows will range between -20C. and -23C. ( - 2F. to - 10F.). We have to leave a couple water faucets on with a pencil-lead stream overnight to protect the pipes.Fortunately,I have an ample supply of both cheap red wines and Seagram's VO.

[barney]

My goodness, Steve - I've never been in weather like that. As I've said before, I think I've seen snow once in the past 15 years - on holiday in Slovenia - and once through the windows of the transit lounge at Heathrow. It's not an Australian thing, unless you are a skiier, and I'm far too uncoordinated for that.
Not sure that I'd say the quartets were my favourite Shostakovich, but I don't know what it. I find quartets very demanding to listen to sometimes, especially late Beethoven. But S is so distinctive and powerful.

[Rach3]

Not sure that I'd say the quartets were my favourite Shostakovich, but I don't know what it. I find quartets very demanding to listen to sometimes, especially late Beethoven. But S is so distinctive and powerful.

I did hear DSCH SQ's Nos.3 and 5 again last night, but did not connect much.Listening to No. 15 on YT right now ( Borodin Quartet ) , then will hear Nos. 9 and 14 today.

Agree about late Beethoven. I do listen to the "Cavatina" only from Op.132 ( or is it from 130 ? ), and all of 131 and 135.

My regular DSCH listening would include his Symphonies 5,8,10,13,15; Violin Concerto # 1; the Cello Concertos and Cello Sonata ; the Piano Concertos; the Piano Trios; the Piano Quintet; the Op.34 Preludes for piano , a few of which I try to play myself; and the Op.87 P & F for piano.

Thanks again for mentioning his SQ's."Winter" listening to be sure.

[maestrob]

About Shostakovich vs. Bartok:

I'm with you, Rach3. While I also enjoy Shostakovich's 8th Quartet (which Rudolf Barshai has made a wonderful version for string orchestra pictured below), I find the others difficult to get into, even though I play the Emerson box that you and Barney both have frequently enough just to stay in touch with them. The Bartok set somehow sits better in my ears. Can't explain why.

As for the late Beethoven Quartets, I'm a huge admirer of all of them, and frequently pull out the Bernstein recording pictured below with the strings of the Vienna Philharmonic, as well as the Quartetto Italiano and Takacs versions. The slow movement of Op. 131 features some of the most beautiful string playing that I've ever heard, even from Vienna. Bernstein once rated this disc as a favorite recording of his.

[slofstra]

Drat, my last post here just went to the great bit bucket in the sky.

If you coincide with someone else's post as I have just done, you have to be very careful how you answer, or you lose your post. The software should just post and not notify you.

I wondered if the lack of engagement to the Shostakovich string quartets was performance related; i.e. that having the Emerson set might make them more appealing. But Brian has put that idea at rest. Have you noted the enthusiastic audience response at the end of each performance?

I often have trouble engaging with string quartets and quintets, so hearing this is a surprise for me. I find this set relatively easy to engage. I suppose the problem with much chamber music is just a lack of appeal in the playing. I love Brahms' quartets, but Beethoven causes me problems. I will certainly keep trying.

I don't listen to a great deal of Bartok, period. I have one CD with three piano concerto's conducted by Boulez, and that is a favourite. And the major orchestral pieces are great listening. Often I find his music a muddle, but that could also be due to a lack of attention. I don't have the string quartets.

[Rach3]

Did my " duty " and listened to DSCH's SQ's 15,9,14 today, to add to 5,7 I heard yesterday. 8 I'd heard much earlier. ( I misspoke yesterday ; I have not heard 3. ).

Certainly demanding works for the performer and listener, pretty dark stuff to my ear. Tough " sledding" even at -21F. here.

If there is another I should hear, would appreciate the advice.Otherwise, I'm taking a break from his SQ's for now.

Fww, Daniil Trifonov and Alexandre Toradze play his PC's Nos. 1 and 2 next week on BBC Radio 3.

[maestrob]

I often have trouble engaging with string quartets and quintets, so hearing this is a surprise for me. I find this set relatively easy to engage. I suppose the problem with much chamber music is just a lack of appeal in the playing. I love Brahms' quartets, but Beethoven causes me problems. I will certainly keep trying.

Henry, I grew up loving the string quartets of Ravel and Debussy, perhaps because of my French ancestry, and later discovered the delights of their various sonatas in my late teens and early twenties. If you don't know them do give them a try, at least the quartets. Also Borodin's Second, from which much music was lifted for the song "Baubles, Bangles and Beads," while the Adagio used to be played frequently by string orchestras. Also, Rachmaninoff wrote a magnificent Cello Sonata which you might enjoy.

Beethoven's Op. 18, No. 4 is a delightful work, and it's where I started with a set of 78's way back when. I would also suggest the second movement of the Op. 59, No. 3 (marked very specifically 'Andante con moto quasi allegretto") as one of the best musical ideas Beethoven had in the whole cycle.

The Quartet No. 8 stands head and shoulders above all the other 15 Shostakovich String Quartets, IMHO.