Russian Early Modern composer Dmitri Shostakovich [1906–1975] wrote fifteen string quartets. His final quartet is a fitting monument to his output, characterised by mostly adagio movements, and a depth of feeling that has rarely been equalled.
The work opens with its longest movement, the beginning of an epic journey. A solo violin plays long notes, hinting at a very simple motif before the second violin enters to create a stunning mood. This is heightened by a particularly resonant cello and a sympathetic viola line. The melodies remain simple, folk-like even. Now the violin goes solo again for a moment and its simplicity dominates the music, as the ensemble supply a drone. A cello line starts to develop and the violins present with a rich tone in the lower register. The beginning of a new melodic phrase is again folk-like with slow, emotionally deep feeling. The opening melody is revisited by the first violin, now solo, then with superb cello accompaniment. This slowly leads the movement to a conclusion. There is a sense of despondency in this music, which is rather wonderful.
There is no pause before the next movement, as a sustained violin note is carried over. This is a strange passage as the attack on each violin note has an unusual edge to it. Some rhythmic chordal thrusts introduce a solo cello until the violin returns with its strange sounding musings. Another solo cello section leads into an ensemble passage where intermittent rhythmic interjections are heard, firstly supporting the first violin, then the cello. Occasional chordal thrusts are re-invoked before the end comes with a short, solo cello statement.
The third movement, which runs for only 89 seconds, again begins without a pause. A searing virtuoso solo violin is positively startling in its impact. A dissonant chordal section leads into a solo cello statement before a much more conservative violin expresses a simple melody. This is joined by the cello in a faded final statement.
The following movement represents a different character to that which has come before. The ensemble engages in a harmonious passage which is very controlled; stately even. Eventually a solo violin prevails for a time but the ensemble regather to add to the atmosphere, which is particularly becoming – we are deep in Shostakovich’s sound world here. A solo cello expresses a gentle conclusion.
The fifth movement begins strongly with rich chords. This only serves as an introduction to a solo violin statement, but they return again, this time yielding to a solo cello passage. The cello reaches high and its powerful tone resonates with great emotional depth. A quiet ensemble section again sets the first violin free and it also reaches into its upper register before it is joined by the second violin in a profound duet. Now the cello walks tall, pizzicato fashion, occasionally with an ebbing accompaniment. The ending is just the pure sound of the cello.
The final movement again begins strongly with a chordal introduction leading into another virtuoso solo violin statement. A graceful ensemble passage ensues, as the first violin expresses melodies hinted at in the accompaniment. A wild, passionate cello takes over the music until it recedes into a violin duet. Long, slow melodies are developed in a sparse manner, evolving into another solo violin statement. Now a flourish of frantic violin tones leads to another solo cello assertion, with occasional ensemble passages heard. These passages move into a solo cello note, which concludes the work.
This quartet is dominated by its persistent adagio tempos and is a work of great emotional depth.
My review CD is from the Fitzwilliam Quartet complete box set, which I tend to recommend, together with the Brodsky Quartet, who also have a stunning complete set. Of course, the work is available on many single CDs but the complete sets are very reasonably priced. You won’t be disappointed.
The work can be found on Spotify, YouTube and earsense.
Listenability: Titanic twentieth century string quartet.
Hi Steve,
I have to say that I have a lot of time for Shostakovich’s quartets, but rarely listen to them, which is probably a contradiction. When I do listen, I always enjoy them. There are some movements that I don’t care for, but not too many. Over the last year I have been listening to the Fitzwilliams and am getting excited about them again.
Previous to that, I was listening to the Brodskys and I know what you mean about some of the movements, but overall I rate him pretty highly. I am a bit surprised that he is sooo … popular. I’ve also heard his quartets played live by visiting SQs and enjoyed them.
I guess the one movement that troubles me the most is the first (allegretto) of the Third Quartet. It’s bizarre.
As to progression, I am aware of many composers that tend to keep writing similar quartets and I think of Shostakovich as a conservative composer, and one who is not influenced by music around him. I’m prepared to stick with him!
JH
I’m interested in your opinion on Shostakovich’s work in general. His SQs show an immensely talented composer at his most tasteful and probing, but still one prone to writing maudlin, bombastic, repetitive, self-pitying music. Say what you want about Schoenberg, at least his dances were sensuous and joyful (like the tango in his first SQ); every time the peasants break into a dance in Shostakovich’s work, however, the sarcasm is so thick it’s obvious the composer felt such folksy diversions were beneath him.
This quartet was composed in the 70s, yet it bears no touches of the musical changes that were going on all around him, even in Eastern Bloc artistic circles. What gives?