Shostakovich String Quartet No. 10

The celebrated partnership of Marc-André Hamelin and the Takács Quartet has already set down reference recordings of piano quintets by Schumann, Franck and Shostakovich, and this latest addition is equally illustrious; an important milestone in the critical re-evaluation of the work of Ernő Dohnányi.

The Mandelring Quartet plays with unflinching resolve, sympathetic expression, incisive attacks, and penetrating tone, which are all necessary in Shostakovich's sardonic and frequently bitter language.

The later Mikhail Kopelman-led Borodin Quartet recordings of the complete string quartets of Shostakovich aren't so much better than the earlier Valentin Berlinsky-led Borodin Quartet's recordings as they have more than the earlier recording. For one thing, there are two more quartets; the earlier cycle stops with 13 because Shostakovich hadn't gotten any further yet. For another thing, the playing is more emotional; the earlier cycle is violently expressive, but the later cycle has more humanity.

Shostakovich started writing string quartets when he was already a mature composer. Of his 15 quartets, all but the first and last were premiered by the Beethoven Quartet. Originally founded in 1923 under the name ''The Moscow Conservatory Quartet'', they changed its name in 1931 to “The Beethoven Quartet”, shortly before they were named ''Merited Ensemble of the USSR.'' The original members were Dimitry Tsyganov (1903-1992), Vassily Shirinsky (1901-1965) - violins. Vadim Borisovsky (1900-1972) - viola and Sergei Shirinsky (1905-1974) - cello. They have been together as a quartet for 42 years (!) Shostakovich held the group in the highest esteem, declaring, ''it has played a most significant role in the flourishing of our chamber music.

Chicago-based Cedille label's ambitious "The Soviet Experience" series continues with this set of early Shostakovich string quartets from the 15 years surrounding World War II, along with one unusual Prokofiev quartet of the same period. In addition to reflecting the situations in which he lived, Shostakovich's quartets deal with a different kind of legacy as well: the Beethovenian tradition of the string quartet as it developed through the 19th century and became an outlet for inward emotion refined into well-crafted melody and counterpoint.