The Shostakovich String Quartets, along with Bartok's, are deemed
the outstanding string quartet cycles of the 20th century.  We can not
consider the Shostakovich quartets to represent his development from
student days to his last years, because he did not compose his first
string quartet until he was already in his 30's.  In terms of differences
between the Shostakovich and Bartok string quartets, they are quite strong.
Shostakovich was much more lyrical than Bartok who took a highly abrasive
approach to the medium.

These are the recordings which I offer for your consideration:

Emerson String Quartet
Deutsche Grammophon 463284(Complete)

Shostakovich Quartet
Olympia 531 thru 535(Complete)

Fitzwilliam String Quartet
Decca/London 455776(Complete)

Borodin Quartet
Melodiya/BMG 40712 thru 40717(Complete)

Eder Quartet
Naxos 8.550972 thru 0977(Complete)

St. Petersburg String Quartet
Hyperion 67153(2 & 3)
Hyperion 67154(4,6,8)
Hyperion 67155(5,7,9)
Sony 66592----(3,5,7)

Brodsky Quartet
Teldec 46009(1,3,4)
Teldec 73108(6,10,14)
Teldec 244919(7,8,9)

Manhattan String Quartet
ESS.A.Y 1010(9 & 10)
ESS.A.Y 1012(11,12,13)

Taneyev Quartet/Beethoven Quartet
Le Chant Du Monde/Praga 7250077
Taneyev(5,7)
Beethoven(6)

Talich Quartet/String Quartet of Georgia
Le Chant Du Monde/Praga 7254042
Talich(1)
Georgia(2)

Glinka Quartet/Taneyev Quartet
Le Chant Du Monde/Praga 7254054
Glinka(3)
Taneyev(4)

Sorrel Quartet
Chandos 9741(6,7,10)
Chandos 9769(3,4,11)
Chandos 9955(8,9,13)

Debussy Quartet
Arion 68461(4,8,13)
Arion 68506(3,7,10)

Borodin String Quartet
Virgin Classics 61630(2,3,7,8,12)

Kreutzer Quartet
Carlton Classics 30366 00622(4,7,8)

Yggdrasil Quartet
BIS 913(3,7,8)

First, a few words about some of the above issues.  The Borodin/BMG
performances were recorded in the late 1970's/early 1980's, while the
performances for Virgin Classics were recorded in the early 1990's.  The
St.  Petersburg String Quartet plans to record all the Shostakovich String
Quartets for Hyperion; so far, three volumes have been released.  A few
years earlier, the group recorded two or three volumes for Sony; I just
happen to have one of them.

The Brodsky Quartet did record the complete cycle for Teldec; I had two
of the volumes and found a third on the used market.  Given the lack of
consistent praise for the group's performances, I was not of the mind to
buy the entire set.  Much the same reasoning applies to the Manhattan
String Quartet complete cycle on ESS.A.Y.

Like the St.  Petersburg Quartet, the Sorrel Quartet currently has three
volumes released of a planned complete cycle for Chandos.  The Debussy
Quartet on Arion has also released three volumes so far, but the third
was just issued and has not been available to me.

My only regret about my 'inventory' is that it does not include the
Beethoven Quartet recordings most recently available on the Consonance
label.  After hitting quite a few sources, I decided to give up the ghost
and move on.

Concerning the so-called 'consensus' of opinion, the Borodin/BMG set
is considered the best on the market with the Fitzwilliam, Emerson, and
Sorrel not far behind.  Of course, that assessment is not necessarily my
assessment.  I'll just be starting from scratch, and we will see how it all
turns out.  On with the extended show:

String Quartet No.  1 in C major, Opus 49 - Shostakovich composed his 1st
string quartet in 1938 after already finishing his 4th and 5th symphonies.
However, you won't find the dramatic emotional themes of those symphonies
in the 1st string quartet.  Shostakovich started writing the quartet just
three weeks after the birth of his son Maxim, and the work conveys an
innocent quality and the renewal of life.  The work was even originally
subtitled "Springtime".  However, there are certainly more than just traces
of the Shostakovich to come later, particularly in the melancholy 2nd
movement.

Throughout his musical life, Shostakovich had to deal with the
contradictions of the premise of social utopia advanced by the Soviet
regime banging heads with the reality of a brutal and oppressive society.
Also, Shostakovich always had the issue of how to write modern music of
emotional depth and sincerity without being sent off to a labor camp in
the frozen tundra of Siberia.  A large part of his *resolution* consisted
of speaking verbally and musically in opposites.  What one hears is not
necessarily what is really being conveyed; only Shostakovich knows.

I greatly admire Shostakovich for his ability to 'work' the system which
enveloped his life.  He was able to create astounding music which will
endure for centuries, and he did it under debilitating social, political,
and artistic conditions.  When Shostakovich wrote his 1st string quartet,
these conditions were already in force.  My view is that the 1st string
quartet, like the others, speaks in opposites.  It just does so in a more
subdued and less severe manner.

The first movement Moderato of Opus 49 has two subjects.  The first
is rather nostagic and sad with 'sighing' phrases; the second subject
is certainly more upbeat on the surface and has been used in 'Western
Cowboy' music.  But the same upbeat phrases also contain a 'crying' element
of a satirical nature, an example of the 'speaking in opposites' side of
Shostakovich.  The ending of movement is sublime and thoroughly comforting;
Shostakovich puts the listener totally at ease as he slowly but surely
pulls the reins in on his stallion.

The second movement is another Moderato but of the variation category.
The viola states the theme in melancholy fashion, and we are then taken
through seven variations followed by a conventional recapitulation; the
ending is an emphatic chord which comes after a prolonged pause.  The
different variations express themes ranging from the oppressive trudge
through life to the flowering of enlightenment.

The third movement, Allegro molto, begins with a tension-laden and
repeated viola G sharp and then turns on the burners with great excitement
and foreboding.  A waltz-like interlude/trio provides strong contrast with
the powerful edges of the first section.  Overall, darkness and light keep
alternating in the third movement; Shostakovich ends it with a mischievous
twinkle in his eye.

Since I find all seven versions equally alluring in the interlude, I'll
be directing my comments to the first section.  The excitement and tension
of this section must be provided in muted tones; that's not an easy
accomplishment.  Also, although there are significant differences in the
versions concerning tempo, the excitement does not come from speed but from
tension.  Essentially, I consider tension the key element of the third
movement.

The last movement has a wealth of emotional themes and rhythmic variety.
The Shostakovich wit and joke-sharing are on full display as are the
serious and severe elements so prevalent in his music.  Faster versions
tend to present the movement in perpetual motion and excitement; however,
there are moments of relative stillness as Shostakovich ponders where to
go next.  In that regard, there is an improvisatory element that is quite
interesting.  In my view, a great performance animates, excites, and
de-stabilzes the listener.

This might elicit objections, but I find the Emerson String Quartet's
performance of the 1st string quartet the least rewarding.  Much of this
has to do with some extreme tempos.  Comparing the median times of the
other six versions with the Emersons provides these numbers:

1st Movement...Median 4:31...Emerson 3:55
2nd Movement..........4:42...........3:59
3rd Movement..........2:03...........2:23
4th Movement..........2:57...........3:44

The Emerson's Moderatos are fast, and the Allegros are slow.  Just on
tempo alone the performances are negatively impacted, but there are other
problems as well.  In the 1st movement, the group allows no space to savor
any of the music, and the faster speed does not increase excitement.  The
2nd movement is undercharactized with one example being the reticent viola
statement of the basic theme which should have a mournful nature.  The 3rd
movement finds the Emersons much too relaxed in the first section as the
strong tension and excitement of the section are not to be found.  The
Emersons conclude the work with an Allegro which neither excites nor
de-stabilizes; the slow tempo and low animation do substantial damage.
Overall, the performances often lack energy, detail, tension, and
poignancy.

The Brodsky and Eder Quartets are a step up from the Emerson but well
back of the better versions.  I like the Brodsky's 1st movement which is
gorgeous with an exceptional ending.  However, the first section of the
3rd movement is too relaxed, and the 4th movement is very fast and sounds
rushed and contrived.  The Eder Quartet usually adopts slow tempos, but the
degree of tension is admirable.  What drags down this group's version is a
fast and superficial first movement; a slower tempo would have provided
more opportunity to delve into the music's themes.  Fortunately, the group
does take on more reasonable tempos for the remaining three movements.

Much better interpretations come from the Borodin, Fitzwilliam, and
Shostakovich Quartets.  The Borodin are particularly insightful in the
1st movement with first violinist Mikhail Kopelman giving a transcendent
reading of great clarity, detail, and nuance.  However, the group's final
movement surprisingly lacks some tension and is too sunny for my tastes.
The Fitzwilliam String Quartet hits all the right buttons, especially with
their wonderfully hushed ending to the 1st movement; my sole reservation is
the extremely symphonic nature of their exciting 4th movement.

Although not much better than the previous three issues, I find the
Talich Quartet to be spot-on at every turn.  The group's tension,
excitement, and conveying of Shostakovich's contradictions are at peak
levels.  I love the stark and note-shortened approach in the 3rd movement,
and they slash their way through the turbulent finale which thoroughly
de-stabilizes this listener.  Although a radio broadcast from 1976, sound
quality is excellent.  Actually, I don't believe I've ever heard such fine
sound from such a source during that time period.

Summing up, you can't go wrong with the Borodin, Fitzwilliam, Shostakovich,
or Talich Quartet readings of the C major String Quartet.  The Brodsky and
Eder Quartets are rewarding but not finely tuned to the Shostakovich idiom.
As for the Emerson String Quartet, I have to say that I consider the
performances wrong-headed.  The conception and approach is one which I
just can't identify with and find superficial.

Don Satz
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