# Shostakovich - String Quartet 3 op.73 (SQ review)



## Merl (Jul 28, 2016)

The 3rd String Quartet (in F major, Op. 73) was composed just after World War 2 and after his 9th symphony. Shostakovich originally explained that it reflected the hardships of life in the Soviet Union during the war years. It was composed in a period of huge nervousness and volatility and he originally gave titles to each of the five movements but retracted them for unknown reasons immediately after the premiere by the Beethoven String Quartet, in 1946. Although they were removed they do fit the music and the titles do superficially explain the quartet as a reflection on the war and summarize the nature of the music, even though these weren't his last thoughts on it. Originally titled "Calm unawareness of the future cataclysm", the first movement is light and buoyant with some inherent sarcasm. In sonata form, and with two clear themes, the music moves from spritely jollity into a more disturbed section and ends with an accelerando that has an air of panic and nervousness but in correspondence Shostakovich asked that the movement be played tenderly not forcefully.
The 2nd movement, "Rumblings of unrest and anticipation", is darker in nature with its off-kilter, more difficult melody, edgier tonality, malevolent rhythms, and abrupt intervals. The music moves sylistically from dance to march and with its constant time signature changes, the suggestion is that this highlights the "rumblings" of war.
The 3rd movement, Allegro no troppo, is a personal favourite, here, With its bold dynamics, a strong rhythm and double and triple stops for effect we can almost feel "The forces of war unleashed" yet this is tempered with some militaristic mockery. The 4th movement Adagio is beautiful, desolate, haunting and melancholy in a lament originally titled "Homage to the dead". The heavy theme is played in unison and recurs in solos before the movement shifts to the funereal, low registers of the viola and cello. The finale was originally titled "The eternal question: Why? and for what?" This closing moderato includes angular marches and ghostly dance music, setting a strange and gloomy atmosphere. The final climax feels like an outpouring of grief before the music dies away eerily with that ghostly, solo violin playing a lament that disappears into the ether. So was there an "eternal question" and has it been answered? Who knows, but Shostakovich was often quoted as saying that, whatever the meaning, the 3rd quartet was one of his finest works with a great deal of personal relevance. A private performance by the Beethoven String Quartet, uncharacteristically reduced him to tears (he had never been visibly moved by performances of his own music before) so it must have been a piece he had a deep love for. Interestingly, Valentin Berlinsky, of the original Borodin Quartet, always insisted on keeping the movement titles in the piece (but never explained why). Berlinsky would also insist on playing some notes in the 3rd movement arco (bowed), not pizzicato, as he said these were the composer's wishes. 
Here's a live performance by the Borodin Quartet.






As usual there are lots of fine recordings, with the vast majority of them recommendable, so I'll just concentrate on those that I feel are that bit more special to my ears.

Warmly Recommended

Borodin (Decca / Erato)
Smetana (1962)
Sorrel
Meta4
Jupiter
Goldmund
Jerusalem
Yggdrasil
Alexander
Orlando (really unbalanced recording or would be much higher)
Danel
St Lawrence

*Highly recommended

Pacifica* - a very straight interpretation and perhaps a little understated even if the recording is beautifully balanced.
*Kopelman* - plenty of charisma and the warmly resonant acoustic may be bright but it's impressively played.
*Allegri* - not helped by a boxy acoustic but the performance is strong, volatile and excellent.
*Shostakovich* - a well-characterised and shaped reading that never gets either too carried away or becomes plain. The Shosties seem to pace this just right in all 5 movements and are lovely in the 4th movement, especially.
*Borodin (Melodiya)* - Melodiya's coarse, shrill sound does get a bit much but otherwise a fine, classic account.
*Emerson* - darker and slightly frostier. Intonation and precision perfect and their steely edge works well here.
*Novus* - pacey, little vibrato and highly committed playing. Really nice balances and much better than their accompanying 8th.
*Taneyev* - from tonal beauty to visceral excitement. They sound little like anyone else. The 3rd movement is intense but the recording is showing its age, unfortinately.
*St Petersburg (Sony)* - the quick pacing and immediate recording grab you but its the commitment that's most impressive. Some people may care less for the St Petersburg's powerful way with this quartet.
*Hagen* - they find the humour, darkness and mystery in this fine account which is less about power and more about passion and expression. Intonation is flawless.

*Special

Acies* - huge, deep, woody cello sound with little vibrato. On the more powerful side of interpretations but that doesn't rule it out and their performance evolves very naturally.
*Mandelring* - slightly softer edged but there's a purity of tone that is immediately appealing. A superb effort in remarkable recorded sound. A definite grower.
*Fitzwilliam* - clear, engaging rhythms, full and weighty. The Fitzwilliam studied and played some of these quartets with the composer and they got this one spot-on, for me.
*Amati* - a recording that had me from the off. Totally engrossing darker playing and structurally superb, if a little cavernous.
*Borodin (Chandos)* - broader but with an air of mystery and menace thst others don't quite have and their range of dynamics wows. The 1st and slow 4th movements are masterclasses in atmosphere.


*Top Picks

Nous* - I love this new recording. The instruments may be closely miked but their clarity is compelling and rhythms sound especially chunky. This brand-new, Brilliant label recording is part of Vol.1of what should be a whole new Shosty cycle.

*Belcea* - idiomatic and fresh, the Belcea capture the darkness but its much subtler than the Emersons and feels more personal. The slightly more angular and sinewy violin sound creates a fine atmosphere.


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## SearsPoncho (Sep 23, 2020)

Wow! Thanks, Merl. You must have put a lot of time into this one. Much appreciated.


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## HerbertNorman (Jan 9, 2020)

Thanks for this @Merl , one of my favourites in the genre.


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## SearsPoncho (Sep 23, 2020)

Merl, I see the Belcea Qt. rate highly again. I have to pick up some of their recordings.


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## Merl (Jul 28, 2016)

SearsPoncho said:


> Merl, I see the Belcea Qt. rate highly again. I have to pick up some of their recordings.


They're in the list on merit, SP. If you get a chance to see them live - go. I saw them playing Beethoven years ago. Not all their recordings are a success but when they do get it right they're a really impressive with some really bold phrasing matched with beautiful articulation. They sometimes get accused of being a bit 'flamboyant' (sigh) but that's one of those ridiculous stereotypes (Emersons are "too cool", etc).


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