# Shostakovich - String Quartet 1 op.49 (SQ review)



## Merl (Jul 28, 2016)

Composed between May 30 and July 17, 1938, Shosty's 1st quartet is fairly straightforward, considering how it came about. After finishing his 5th symphony the explained later that ".. no special idea or emotions had stimulated me to write it, and I thought the effort would fail. I wrote the first page as a kind of exercise in the quartet form, and I never thought I would complete it. Yet later on the work absorbed me to the extent that I completed the quartet extraordinarily rapidly. It would be foolish to seek anything profound in it. I should call it the ‘Spring Quartet.’”
It's a short, gracefully and detached piece, with no hint of what was to come and no message hidden within.
The first movement moderato starts with a simple melody, played by the first violin and supported by the other instruments. The second theme is similar, accompanied by a sliding figure in the cello. The first theme returns and wanders then the second theme returns and the movement winds down and ends quietly. The 2nd movement Moderato opens with the viola presenting a folk-influenced theme that goes through several variations and ends with the theme. The 3rd very short movement is an Allegro molto with a restless scherzo to begin with. It's middle trio is very short and sweet before the scherzo returns to complete the movement. The Allegro finale is in a shortened sonata form and is more complex than what precedes it. It has two themes that are rapidly dispatched before a short coda ends the work. At roughly 15 minutes in duration it's a really short quartet and even though the final two movements are only short, getting them right is essential for me, in the best recordings.






League 1

Brodsky (Chandos)
Rasumowsky
Kopelman
Eder
Petersen
Cavani
St Petersburg (Hyperion)

*Championship

Emerson* - comfortablly structured and versatile.
*Carducci* - crisp, muscular and agile. They clip a few phrases, dynamics are lively and they're not afraid to make a sharp noise. Some may find this all a bit in your face, especially the way they rip into the finale.
*Sorrel* - Well-realised, thoughtful account which is especially strong in the slower first two movements. More fire in the finale is needed, for me, but it's still excellent.
*Taneyev* - nice colours but their slightly sinewy, frosty tone slightly takes away from an otherwise fine reading.
*Aviv* - keen and excitable. They really bring out the lyrical side but they're not slow and soggy but zippy and fresh, especially in the finale.
*Mandelring* - relaxed, great virtuosity especially the 1st violin. They have a lovely balance across the quartet.
*Alexander* - structurally rigorous and slightly more romantic view of things. Perfect intonation and sense of togetherness.
*Danel* - the Allegro molto is played delicately. Elsewhere they are spiker, more angular, thoroughly committed and very impressive.

*Premier League

Fitzwilliam* - more blended brisk approach that's successful just because you feel that they love this music. Nothing feels forced or overtly nuanced.
*Jerusalem* - urgent, quick, deep, rich sound and whilst they sometimes slightly overdo the dynamics it's all so well done you tend to overlook such moments.
*Shostakovich* - by god, the Shosties race through the Allegro molto. They sound a bit close in these analogue recordings but have a Russian charm and spontaneity all of their own.
*Debussy* - beautifully performed with ideal phrasing and some impressive cello playing. The Debussy haven't featured near the top much in my Shostakovich quartet reviews but this is excellent.
*Borodin (1951 live) *- this intoxicating, surprisingly well recorded, mono, live take (from the huge Tribute to Rudolf Barshai compilation) is quick, incisive and a joy and only misses the tops due to its low-level cello and some intrusive audience coughs.

*The European places

Borodin (Melodiya / Teldec 1996) *- the Melodiya recording sounds a little in your face and top heavy on the 1st violin but this volatility ultimately sells it. The electricity generated by these players in the finale leaves the listener quite breathless. A tour de force. Similarly the digital 1996 Teldec (yep I checked its not from any cycles) recording has a wonderful, speedy finale and is glorious sounding.
*Pacifica* - capturing the grit but sensitivity is a balancing act par excellence and the Pacifica do so remarkably well. Aided by a deep, rich recording this is an easy top choice for me (and those original Soviet Experience covers were so good). Lol


*Premiership Champions

Borodin (Chandos) *- this late 60s recording reigns supreme here, even among some stellar opposition. In footballing terms the Borodin are always on the offensive, possess a wonderful team spirit, keep total control of the game and are a pleasure to behold. Each movement is a stunning overhead kick into the top corner from an unforgettable game that is played at an ideal pace.


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## EdwardBast (Nov 25, 2013)

I like Shostakovich's characterization "Spring Quartet." I'm not sure about "no hint of what was to come," but it seems somehow a perfect start for the cycle of fifteen.


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## Merl (Jul 28, 2016)

EdwardBast said:


> I like Shostakovich's characterization "Spring Quartet." I'm not sure about "no hint of what was to come," but it seems somehow a perfect start for the cycle of fifteen.


Aye, that was probably a poor choice of words. I was alluding to the way the later quartets developed in the same way that Beethoven's later quartets moved away from most aspects of the early ones. Hope that makes sense. It's early in the morning and I've just had some bad news.


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