Shostakovich Quartet

The staying power of the Russian composer Dmitri Shostakovich’s string quartets rivals that of his symphonies. His quartets are deeply personal works – intensely autobiographical, confessional, intimate, intensely emotional – and among the most insightful works in the quartet repertoire.

The origins of this album – the Artemis Quartet’s first recordings of Shostakovich – lie in the ensemble’s long-established relationship with the great pianist Elisabeth Leonskaja. For years, the quartet had been wanting to record the Russian composer’s Piano Quintet with her. It is coupled with Quartets No 5 and No 7, multi-faceted works which are expressive of the composer’s private persona.

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.

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.

It tends to be Russian performers who capture the dark, emotional undercurrents of Shostakovich's music, but few chamber groups have ever done it as well as the Belcea Quartet, a London-based group of central and eastern European players. Neither the Piano Quintet in G minor, Op. 57, nor the String Quartet No. 3 in F major, Op. 73, is a commonly played work, but taken together, in the Belcea's more-than-capable hands, they have a powerful impact.

Shostakovich Quartet (Квартет имени Шостаковича) was founded in 1966 by Alexander Korchagin and Andre Shishlov in the Rafael Davidyan class at the Moscow Conservatory. A few years later, professor Sergei Shirinsky (legendary cellist, member of Beethoven Quartet) mentored the ensemble…

A slightly curious compilation (two Russian performances dating from 1962, one English from 1976) but an attractive one, and very good value. I had not heard the Gabrieli's Tchaikovsky before, and liked it a great deal: properly chamber-scale, in colour as well as tone of voice, and nice underlining of the lyricism in even Tchaikovsky's most exuberant pages.

Like so many upstart ensembles to come out of Eastern Europe, the Skampa Quartet found its beginnings while the members were students – in this case, at the Prague Academy in 1989. Only four short years later, the group gave its debut performance at London's Wigmore Hall and became the hall's artists-in-residence for the following five years. Its captivating energy and rapport with audience is frequently cited among its strengths. Whether this particular performance represents an off night for the quartet, or whether the performance really loses something when not viewed live is anyone's guess, but this live 2006 recording does not live up to its Wigmore Hall accolades.

Following their successful Dvorák cycle with Signum Records, Albion String Quartet are back with a selection of string quartets by Walton and Shostakovich, recorded in 2021. The concept: to juxtapose two masterpieces written in the same year in the immediate aftermath of war (1946) by composers inhabiting two entirely different social and political worlds in the Soviet Union and Britain respectively. Formed in 2016, the Albion Quartet brings together four of the UK's exceptional young string players who are establishing themselves rapidly on the international stage. Recent engagements from the 2017-18 season included performances at the Louvre in Paris, Concertgebouw in Amsterdam, Robert Schumann Gesselschaft in Frankfurt, Båstad Festival in Sweden, Festival of Music in Franconia and Rhine Valley Music Festival in Germany, as well as the Hay Festival in the UK. The members of the quartet play on a fine collection of instruments, including a Stradivarius and Guarnerius.

The performances by the Emerson, Fitzwilliam and Brodsky are quite different while equally valid. The Fitzwilliam version is richly romantic and emotionally charged, sort of the "Leopold Stokowski" performance. The Emerson quartet version is at times fast, tense, highly energetic, sort of like an "Arturo Toscanini" version. The Brodsky version is carefully crafted, balanced, slightly understated, like a version by "Sir Adrian Boult." Why on earth would anyone want to understate things? Not because, as some people seem to feel, Sir Adrian and the British are afraid of expressing feelings, but because by understating the emotionalism in the music other aspects of the music are more clearly appreciated, and the overall musical experience is richer. Therefore one could easily find the Brodsky version to be the best version by a British quartet.