Album insights
In the history of music, there have been composers who excelled in both symphonies and string quartets. Some, like Elgar, Mahler, and Strauss, focused more on symphonies. Others, such as Schönberg, Bartók, and Britten, contributed significantly to the quartet medium, even more so than to symphonic works. Dmitri Shostakovich, a master of both forms, produced fifteen symphonies and fifteen string quartets. His work in both genres wasn't always simultaneous, with a period from 1939 to 1962 notable for his creations in both realms.
Acknowledging the similarity between symphonies and string quartets, it's essential to note that Schostakovich's string quartets aren't merely symphonies in chamber music disguise. The Second String Quartet, Op. 68, marked a true pinnacle in his quartet compositions. Between 1939 and 1962, he achieved a delicate balance between symphonic and chamber works, showcasing his evolving interests. His pieces like the Piano Quintet, Op. 57, and the Piano Trio in E minor, Op. 67, reflect his growing fascination with chamber music during this period.
The Second Quartet, created in September 1944, along with notable chamber pieces, underscores Schostakovich's mastery in both symphonic and chamber genres. This work features a blend of Neoclassical elements and a nuanced exploration of tonalities and rhythms. The meticulous construction and emotional depth of the Quartet highlight Schostakovich's brilliance as a composer.
The quartet's intricate structure unfolds like a journey through diverse emotional landscapes, from the serene "Rezitativ und Romanze" to the hauntingly intense passages reminiscent of spiritual chants. The third movement, a fusion of Scherzo and March, exudes aggression and anticipates the dynamic energy of his later compositions. The Passacaglia in the fourth movement, resembling passages from his Violin Concerto No. 1, leads to a compelling finale filled with lyricism and depth.
The Borodin Quartet's interpretation with attached subtitles hints at underlying thematic elements in the Third Quartet - possibly revealing Schostakovich's contemplation on war, loss, and human suffering. While music can inherently convey powerful emotions without the need for extramusical explanations, these subtitles offer additional layers of interpretation to this monumental work.
Robert Matthew-Walker © 1999