# Shostakovich - String Quartet 6 op.11 (SQ review)



## Merl (Jul 28, 2016)

Shostakovich's 6th quartet is altogether different from his 5th. In the four years that had elapsed since the 5th, Stalin had died, Shostakovich's wife, Nina, had unexpectedly passed away and this was followed by the death of his mother. Even more surprisingly, in 1956, Shostakovich had remarried (spoiler alert: it all ended in tears 3 years later). Maybe that's what makes this quartet so different. It opens in the happier and sunnier G Major key and starts simply and gently. There's plenty of gaiety and it was surely this spirit of good humour which influenced Shosty to conclude all four movements with the same cadence. Rhythms and melodies which appear in the first movement are are used throughout the work. This is particularly true of the three-note motif of the first main theme, where the melody is predominant for much of the first movement and also for a lot of the second. The problematic 3rd movement Lento is a beautiful passacaglia which can be viewed as an expression of Shosty's grief at the death of significant women in his life or as a state of peaceful contentment, new love and the weight of oppression being lifted. This finale is in sonata form and is based on that original three-note motif but that's the only similarity as the ground bass from the passacaglia is played by the cello and viola, in canon. Finally, we return to something like the gentle intimacy of the 1st movement but with an added edginess (or with some recordings, a strange darkness). It's a quartet that bears very different types of approaches and I expected to reflect this in my choices. Read on......

Recommended

Brodsky (Teldec / Chandos) - decent if unspectacular but well structured.
Beethoven - some sloppy intonation / ensemble spoil this otherwise idiomatic account.
St Petersburg (Hyperion) - a little laboured in parts which is a shame as elsewhere they hit some real sweet-spots, especially in the final two movements

*More recommended

Alexander* - deep and rich, well-shaped with fine colours and textures.
*Mandelring* - I love the phrasing but the 2nd movement is incredibly quick and loses me a little, hence its position in this review.
*Debussy* - some gorgeous, delicate playing from the first violin, in particular. A well-rounded straight-down-the-middle easy to recommend recording.
*Borodin (Melodiya)* - a little too shrill in places which spoils this one for me and although others will judge it higher I'd much rather have the earlier, essential 60s recording.
*Emerson* - Well-structured and the first half is particularly engaging. No lack of emotional depth here, either.
*Taneyev* - this ensemble's leaner style and sparser textures is haunting throughout but the balances are not great (cello is recessed). However, apart from a few quibles about the sound, they have a no-nonsense attitude that I like a lot.


*Superb

Eder* - Whilst the Eders aren't always successful in their set, this is a strong, honest traversal with equal amounts of tenderness and power. Ignore the Naxos snobs. This is very good.
*Danel* - the sum of the parts is what gives this account its appeal. Finely balanced and attractive playing in a lovely acoustic.
*Sorrel* - another set that is hit and miss but this is one of the best in their cycle. The outer movements are particularly strong in emotional intensity.
*Pacifica* - a concentrated and agile performance where the Pacifica play with real zeal and freshness. It has great spontaneity to it and the sound is ideal.
*Shostakovich* - the tonal blend of instruments here is divine and you have to admire the playing of the lento, in particular, where the 1st violin is quite beautiful.

*Top Picks

Jerusalem* - there's a feeling of foreboding running through this performance that bubbles under the opening two movements and then pervades the latter two. If you want a darker vision of this quartet this beautifully recorded 6th is the one to get.

*Borodin (1966)* - the weight and depth of these early Borodin performances still impress today. Agile, deeply gut-wrenching across all movements. Kudos to Chandos for really doing a great remastering job on these (Valentin Berlinsky's cello sound is wonderful). Much better than their later 70s/80s recording and light years better than the dreary Decca account.

*Fitzwilliam* - smoother than the Borodins but just as relevant this is an especially clear, vibrant account where the victory comes in the balance of the performance. The slow movements are handled especially well and the more blended approach suits this quartet well.

*Delian* - wow this one really flew inder the radar but its a joy. Apart from superb sound I loved the perfect intonation and listen to the 2nd movement, in particular, where the pizzicato accompaniment and sumptuous tone of the first violin at the midway mark are dreamy.


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