# Shostakovich - String Quartet 7 op.108 (SQ review)



## Merl (Jul 28, 2016)

Before the end of 2022, I was determined to get halfway through Shosty's quartets (I reviewed the 8th first) and although I didn't quite get there I was only a few days out.
The years leading up to the 6th quartet were rather turbulent for the composer with the deaths of his first wife and mother which explains the mood of that piece. 1960 also found Shosty in a rather more introspective mood after his 2nd marriage had collapsed (I told you in the last review it wouldn't last) and his 7th Quartet (dedicated to the memory of his first wife Nina) reflects this. With it's 3 short movements totalling 15 minutes, at the longest, it almost reflects Shosty's gradual withdrawal into himself and introversion. It was premiered at the Leningrad Glinka Concert Hall by the Beethoven Quartet on May 15th, 1960.
The 1st movement, Allegretto, begins jovially until it gets increasingly nervy and grows darker further on. It consists of two main themes. The first subject is quirky but is juxtaposed by a rising three-note motif in the lower strings giving a feeling of loneliness. A second theme follows leading to a recapitulation of both themes (the first reduced to pizzicato, the second in darker harmony) before the movement finishes with a 'three-note knock'.
The 2nd movement, Lento, begins with a melancholy ostinato then a solo lament from each instrument using slides and sostenuto with a low grumbling bass. There's little conversation here - the instruments don't often play together. Again this gives a ghostly feel to the music.
The 3rd movement, Allegro, begins by echoing the first movement theme in reverse and at much quicker tempo before a complex fugue explodes with furious counterpoint. Surprisingly, the 1st movement's main theme returns, any lightness is lost, and and 'three-note knocking' returns forcibly. The fugue theme takes on a slower, smoother feel with those pointed pizzicati also returning. There's a final, muted, waltz-like dance and finally the music dies away.

Here's the fine Jerusalem Quartet playing #7.






Recommended

Yggdrasil
Manhattan
Beethoven
St Petersburg (Hyperion / Sony)
St Lawrence
Valentin-Berlinsky
Brodsky (Chandos)
Borodin (Decca & Virgin)
Carducci
Aviv

*More recommended

Taneyev* - this idiomatic performance held my attention firmly from the beginning through to the end of the agitated allegro. First rate even if intonation is occasionally a little explorative.
*Prazak* - more solemn and tightly argued account in typical Praga sound (quite close, immediate). Similar in style to the Alexander but not as immediately satisfying.
*Sorrel* - plenty of vigour and sprit but I didn't get the emotional connection I got in the finest versions available. Never wanting in commitment.
*Altius* - emotionally tensile and deeply involving. The first two movements are especially good but felt they took their foot off the gas in the 3rd.
*Eder* - quite brisk, darker and imaginative reading with plenty of pent-up tension and fire. Lovely 2nd movement.
*Fitzwilliam* - their more blended approach perhaps takes away a little from this one (I prefer a bleaker / fierier account) but this is still beautifully carried off.
*Danel* - sweeter-toned but highly committed across all 3 movements and there's great vitality in an athletic 3rd movement.
*Emerson* - another ensemble who understand this quartet, the Emerson play it dextrously and get it structurally spot on.
*Hagen* - I do like a challenging account of the 7th and you certainly get that here especially in a 3rd movement that fizzes with energy but the 1st movement needs more.


*Hugely recommended

Shostakovich* - a fine all-round performance which seems to tick all the boxes and with enough tenderness / weight / mystery / darkness.
*Nous* - truly impressive performances of this quartet should leave you in no doubt as to their pedigree and this is one such recording. Their tone is terrific and the precision of their playing is arresting.
*Artemis* - in both this quartet and their accompanying terrific recording of the 5th the Artemis exhibit a bleakness and concentration that creates a dark, engrossing ambience.
*Mandelring* - not as dark as others, the Mandelring instead stress the beauty of sound, especially in a lovingly played lento. Magical acoustic.
*Alexander* - imagine the Emerson recording with even mote biting attacks, better sound and more grit in the bass and that's this superb account.

*Top Picks

Pavel Haas* - a bewitching effort with ensemble playing of meticulous clarity and strength, listen to that 3rd movement. Its turbulence is captured magnificently and in state of the art sound
*Pacifica* - this may be the Pacifica's finest performance from their cycle. With their pristine pizzicati, intuitive interplay and wondrous articulation they nail every movement here consistently.
*Borodin (Melodiya) *- a recording I've enjoyed for years, the Borodin rip into the 3rd movement with enequalled frenzy, making this still a reference for this quartet.
*Borodin (Chandos) *- quicker and ballsier than their Melodiya remake they turn the 3rd movement into a frenzied, penetrative tour de force with playing of exceptional strength and vivacity.


----------



## sbmonty (Jan 11, 2014)

Informative as always Merl! Thanks. Did you listen to the Rubio? Definitely agree with you on the Pacifica account.


----------



## Merl (Jul 28, 2016)

sbmonty said:


> Informative as always Merl! Thanks. Did you listen to the Rubio? Definitely agree with you on the Pacifica account.


Yeah, both Rubio accounts (Globe/Brilliant) were OK but missed the dramatic impact of the piece for me but they score on other performances. With the Shosty quartets it doesn't always follow that Quartet X recorded a great 4th so their 5th is gonna be great. These works are all so very different and how we hear them or like them performed is very different too. There's no set of quartets quite as polarising as the Shostakovich cycle (I tell a lie there is - Bartok)!


----------

