# Kabalevsky - String Quartet 1 op.8 (SQ review)



## Merl (Jul 28, 2016)

Dmitri Kabalevsky was born in St. Petersburg, in 1904. He was the son of a mathematician, destined for a similar career until music took over and he ended up studying piano and composition under Myaskovsky, at the Moscow Conservatory. He was a part of the the so-called 'school of Soviet realism' where music was made with an extremely literal, obvious meaning and usually devoid of complex artistic meaning or interpretation.
Kabalevsky's first string quartet was composed in 1928. Although still only in his early 20s, Kabalevsky's skill in the heavy use of harmonies and cross rhythms is much in evidence here and there is a definite French influence at work here. The lyrical first movement, Allegro moderato, starts with a gentler, slow Andante introduction before a meatier, atmospheric Allegro takes over with its drone-like textures. The 2nd movement Scherzo follows, where Russian folk melody is invoked in a second more romantic theme. The 3rd movement, Andantino, is starker and darkly romantic but beautifully pointed. The finale, Allegro assai, hits you in the face from the off with its vibrant, dizzy rhythm accompanying a pulsing, rustic, Russian folk song and the recurrence of previous themes briefly. I love the strength of the outer movements. It's not hugely original but it contains some excellent textures and melodies. Sadly this highly enjoyable, very folk-inspired work is seldom recorded or performed these days but the good news is that we have two very strong recordings in the catalogue.

The *Stenhammar Quartet *recorded both of Kabalevsky's quartets for CPO and the first of these is a very impressive account. The Scandinavians have a highly cohesive way with this work and their cross-rhythms and balance are really good. This is obviously music they enjoyed playing and the CPO sound is warm with a slight edge and it's nearly ideal, tbh. Similarly superb are the *Glazunov Quartet* on their long OOP recording, on Olympia. Speeds are very similar to the Stenhammar (if a tad slower in some movements) and the recorded sound gives the violins, in particular, a more astringent, sound which, for me, gives this 1993 release more of an authentic folky, 'agrarian' feel. The finale, especially, is alive with pithy bouyancy and rhythms bounce and dance across the cello and viola in a quite delightful way. The sound is really very good in a firm acoustic. Of the two recordings I have a slight prefence for the Russians but whichever recording you can get your hands on you won't be disappointed either way as they are fine recordings of music that those that like Prokofiev's quartets will really appreciate.


----------

