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Complete String Quartets, Vol. 2
Shostakovich: Complete String Quartets, Vol. 2
The Classical Shop
release date: January 2000
Originally recorded in 1999
Potton Hall Studio, Westleton, Suffolk
Total Time - 78:15
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Complete String Quartets, Vol. 2
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String Quartet No. 4, Op. 83
in D major - D-Dur - ré majeur
String Quartet No. 11, Op. 122
in F minor - f-Moll - fa mineur
Introduction: Andantino -
Scherzo: Allegretto -
Recitative: Adagio -
Etude: Allegro -
Humoresque: Allegro -
Elegie: Adagio -
Finale: Moderato -
String Quartet No. 3, Op. 73
in F major - F-Dur - fa majeur
Moderato con moto
Allegro non troppo
The immensely popular Sorrel Quartet perform the second dos in their complete Shostakovich quartet series.
This series is dedicated to Rostislav Dubinsky. As a founder member of the Borodin Quartet, Dubinsky made the first ever recordings of the complete quartets, in the presence of the Shostakovich himself. Dubinsky provided the Sorrel Quartet with his scores which contained Shostakovich’s markings, shortly before his death.
This is the seventh disc in the Sorrel Quartet’s rapidly growing discography. They have proved themselves equally at home in works as diverse as Carwithen, Schubert, Mendelssohn and Britten, and showed with the first disc in this series that they have a natural flair for Shostakovich too.
Shostakovich’s first two string quartets had hardly prepare the public for the ‘symphonic’ weight of his Third String Quartet, on which work began in January 1946, after the completion of his Ninth Symphony. The innovative five-movement scheme was taken directly from both the Eighth and Ninth Symphonies. The work begins in a sunny F major, but the second movement enters with a jolt in E minor, setting an unsettled mood in which continues throughout the quartet, and although it finishes in a stable F major, it is not a happy ending. It was first performed in December 1946 by the Beethoven Quartet.
It is not surprising that the intimate medium of the string quartet should become a vehicle for the composer’s deepest feelings during the difficult years of cultural quarantine imposed on him by the Soviet authorities until 1953. (Shostakovich had already developed a special relationship with the Borodin Quartet, who performed it privately in 1950).
The Eleventh String Quartet (completed in 1966 and dedicated to the late second violinist of the Beethoven Quartet) marks a transition into the darker world of the composer’s late string quartets. At its emotional centre is an Elegy in funeral march style. After his break from the classical four-movement scheme, Shostakovich was becoming more interested in the idea of multi-movement unity-in-continuity. Here is a suite-like assembly of miniature character pieces shaped into a larger cyclic whole which becomes the sum of its parts.
…these interpretations have a cumulative intensity that draws one in to the composers confessional world.
The Daily Telegraph
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