Album insights
Shostakovich's fifteen string quartets form three cycles consisting of numbers 1-6, 7-9, and 10-15. The middle quartets (Nos. 7-9) are connected through both musical and non-musical relationships, as they are all considered "personal" works. The Ninth Quartet, dedicated to Shostakovich's third wife Irina Antonovna, grapples with the conflict between C minor (the key of the "suicidal" Eighth Quartet) and E-flat major in its turbulent finale. With the Tenth Quartet in A-flat major, Shostakovich began a new phase in his quartet compositions.
In contrast to the Ninth Quartet's resolution of internal tensions, the Tenth initially emanates a calm, peaceful atmosphere but delves into intense tonal planning. The quartet's structure is relatively easy to grasp, with the Andante serving as a prelude to the energetic Allegretto furioso. The Adagio third movement features a theme with eight variations, leading to an Allegretto-Andante fourth movement of tremendous emotional impact.
Shostakovich's Violin Sonata op. 134, written in 1968 for David Oistrach, introduced twelve-tone themes following the Twelfth Quartet's premiere in 1964. These works refuted claims of a distinct shift in the composer's style. Continuing with the Twelfth Quartet, Shostakovich employed familiar structures, setting the stage for the fourteenth quartet's introspective reflection.
The Fourteenth Quartet, created mostly in 1972, bears ties to the string quartet ensemble and interrogates themes through a cyclic narrative in three interconnected movements. While showcasing classical structural concepts, Shostakovich's poignant self-reflection influences the quartet's complexity, subtlety, and lyrical exploration.