Saturday 29 & Sunday 30 October 2022
Kings Place, London
★★★★★
Dmitri Shostakovich (1906-1975):
String Quartet no. 1 in C major, Op.49
String Quartet No. 2 in A major, Op.68
String Quartet no. 1 in C major, Op.49
String Quartet No. 2 in A major, Op.68
String Quartet No. 3 in F major, Op.73
String Quartet No. 4 in D major, Op.83
String Quartet No. 5 in B flat major, Op.92
String Quartet No. 6 in G major, Op.101
String Quartet No. 7 in F sharp minor, Op.108
String Quartet No. 8 in C minor, Op.110
String Quartet No. 9 in E flat major, Op.117
String Quartet No. 10 in A flat major, Op.118
String Quartet No. 11 in F minor, Op.122
String Quartet No. 12 in D flat major, Op.133
String Quartet No. 13 in B flat minor, Op.138
String Quartet No. 14 in F sharp major, Op.142
String Quartet No. 15 in E flat minor, Op.144
String Quartet No. 4 in D major, Op.83
String Quartet No. 5 in B flat major, Op.92
String Quartet No. 6 in G major, Op.101
String Quartet No. 7 in F sharp minor, Op.108
String Quartet No. 8 in C minor, Op.110
String Quartet No. 9 in E flat major, Op.117
String Quartet No. 10 in A flat major, Op.118
String Quartet No. 11 in F minor, Op.122
String Quartet No. 12 in D flat major, Op.133
String Quartet No. 13 in B flat minor, Op.138
String Quartet No. 14 in F sharp major, Op.142
String Quartet No. 15 in E flat minor, Op.144
No. 1:
'Strident expression from Osostowicz in the opening movement and sad nostalgia from Cassidy in the slow movement'.
'There was stark pizzicato and searing anguish from Osostowicz in no. 12’s second movement, and Cassidy’s painful ascent to the top the fingerboard at the end of no. 13 was almost unbearably lonely'.
No. 14:
'Thomas brought rich intensity to the almost Bachian extended solo passages, as well as glorious warmth to the ‘Italian’ duet with the first violin, and the Lady Macbeth “Seryozha, my darling” quote in the final movement'.
'Cellist and writer Wilson studied in Moscow with Rostoprovich in the sixties, and was full of first-hand knowledge of not only Shostakovich and the works but many of the key people around him'.
'Frolova-Walker’s talk on the second day added wry humour, but also drew harsh parallels with the current situation in Russia and Ukraine'.
'As many questions as answers about this profoundly disturbing yet moving cycle, as well as even greater admiration for the artistry and achievement of a fine quartet of players in their prime'.
Read my full review on Bachtrack here.
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