Dmitri's Dacha

[Mirror Image]

I wouldn't necessarily see certainty as something to aspire to...

That's true because sometimes a SQ cycle can open your ears in new directions. I suppose certainty is a somewhat dirty word in classical music listening.

[Karl Henning]

Depends on the artistry with which it is applied

[Mirror Image]

Depends on the artistry with which it is applied

'Tis true, Karl.

[Mirror Image]

Dude, you need the complete Myaskovksy SQs. 

How about all of Weinberg's SQs which are now conveniently packaged together from CPO?

[kishnevi]

Dude, you need the complete Myaskovksy SQs. 

Speaking of whom,  Amazon only seems to list recordings by the Tanayev Quartet.   Are they in truth the only game in Moscow, so to speak?

[NorthNYMark]

I've been listening to a lot of Shostakovich quartets, mainly via Beats music streaming, though I now own the Borodin (bovine) and Mandelring sets.  Frankly, the quartets themselves are so amazing (IMHO) that they sound pretty wonderful regardless of the interpretation; in other words, it's pretty rare that I hear a version that isn't enjoyable in some way.  That being said, I think the Pacifica set is a very good choice for a first set, in that their interpretations are somewhat "traditional" (in this case, meaning somewhat similar to the oft-recommended Russian sets by the Borodin and especially the Shostakovich Quartets), but with flawless technique and recorded sound.  They are probably not the most stylistically idiosyncratic, but that is probably good for a first set (plus, they have the best artwork).

My own personal favorite (so far) is the Mandelring set (which I had streamed quite a bit before buying).  They seem to bring out a more introverted, mysterious aspect to the music than most other interpreters, with an emphasis on nuance (though, as Sarge suggests, that does not prevent them from being quite biting when appropriate).  I find their atmospheric version of #2 particularly outstanding (especially from the second movement onward).  Their overall approach strikes me as less "folksy" than that of most Russians, yet more delicate/refined than many other non-Russian interpreters (like the Emersons or Fitzwilliams, who tend to be more relentlessly driven).  Stylistically, they remind me a bit of the Vegh Quartet (in their stereo Beethoven quartets), but without the latter's intonation issues.

[amw]

Speaking of whom,  Amazon only seems to list recordings by the Tanayev Quartet.   Are they in truth the only game in Moscow, so to speak?

Pretty much, although No. 13 crops up on rare occasions.

I have the Russian Disc transfers which are supposed to be better than the Northern Flowers ones, but from the samples I've heard I can't tell a difference

[Karl Henning]

I've been listening to a lot of Shostakovich quartets, mainly via Beats music streaming, though I now own the Borodin (bovine) and Mandelring sets.  Frankly, the quartets themselves are so amazing (IMHO) that they sound pretty wonderful regardless of the interpretation; in other words, it's pretty rare that I hear a version that isn't enjoyable in some way.  That being said, I think the Pacifica set is a very good choice for a first set, in that their interpretations are somewhat "traditional" (in this case, meaning somewhat similar to the oft-recommended Russian sets by the Borodin and especially the Shostakovich Quartets), but with flawless technique and recorded sound.  They are probably not the most stylistically idiosyncratic, but that is probably good for a first set (plus, they have the best artwork).

My own personal favorite (so far) is the Mandelring set (which I had streamed quite a bit before buying).  They seem to bring out a more introverted, mysterious aspect to the music than most other interpreters, with an emphasis on nuance (though, as Sarge suggests, that does not prevent them from being quite biting when appropriate).  I find their atmospheric version of #2 particularly outstanding (especially from the second movement onward).  Their overall approach strikes me as less "folksy" than that of most Russians, yet more delicate/refined than many other non-Russian interpreters (like the Emersons or Fitzwilliams, who tend to be more relentlessly driven).  Stylistically, they remind me a bit of the Vegh Quartet (in their stereo Beethoven quartets), but without the latter's intonation issues.

A fine post.  I especially endorse your assessment as I highlighted above.

[North Star]

A fine post.  I especially endorse your assessment as I highlighted above.

Very fine post indeed, apart from the CDCDCD-inducing aspects.  0:)

[Karl Henning]

You've an excellent point, at that!

[snyprrr]

No.10, Furioso: Like the first movement of No.5, I find the Mandelring are more aggressive relative to the Pacifica and Sorrel. Partly it's a matter of tempo (Mandelring 3:54, Pacifica 4:07, Sorrel 4:08...not a huge difference but the actual effect is substantial). They also dig into the music in a much harsher manner. They aren't afraid to sound ugly here. The sonics: Pacifica sound like they are occupying my small listening room. The Sorrel is in a larger acoustic, a concert hall, and you are sitting front row balcony. Lots of air, some reverberation, making them sound larger than a quartet. Mandelring are somewhere in between although closer to the Pacifica sound world. Which do I prefer? Not sure. I suppose it would depend on my mood, and the condition of my ears    The Sorrel just sounds lovely. The technical perfection of the Pacifica is breathtaking while still providing an emotional kick (I hear them differently than amw apparently). The Mandelring might get closer to the heart of the music. But that's just one movement. I don't think you could, or should judge each cycle on the merits here.


Sarge

I haaave been quite impressed with the sound Chandos afforded the Sorrel. It's in the best traditions of the house.

You really are digging into the Mandelring vs Pacifica- yaaay!- I can't wait to hear even more tidbits.

As the Poster states- most all recordings are at least pretty good, so, we really are getting down to the nitty gritty.


MY NEW RULE: i will not accept any 13-14 (maybe 15 too, maybe 12 but not so much) from any group under 70 years of age. How can you possibly play them as dead as they need to be unless you yourself are on death's door? (I know, I'm being cheeky- but- puhleeeze- I can't possible see the Manhattan (from... MANHATTAN!!) getting into the deathly soul of these pieces- or any young and vital group, or what have you. And yes, I've broken my own rule- but Kremer ACTS like he's 70 most of the time, so it seems to work!! And yes, the Sorrel's 13 is as 'scary' as one would want...

I'm juuust sayin'


(hopefully the mailman will be my friend today)



BTW-------- HAVE i RAVED yet about the Borodin/Erato 15th? which you can only get from uk I guess? WELL____ it truly has a 'dead' quality to it (just like I was going on about above)- with the longest first movement I've heard, reeeally dragging it out and it sounds absolutely perfectly funereal. The best I've heard so far!!

There's a Kogan? 15 that has a 15min 1st mvmt?!?!?!?!?

[Jay F]

I'd love to get some people's thoughts on the Pacifica Quartet's Shostakovich SQ cycle. What do you guys think of the performances? I recently bought the newly released box set as I was in need of at least one more SQ cycle. I hope I made a wise choice.

Did you buy it at amazon? Someone whose name I recognize from r.m.c-r did and was very unhappy with his purchase: http://www.amazon.com/gp/product/B00M3ECNDI/ref=s9_psimh_gw_p15_d0_i1?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=1SR3W7ZSQMCX584SK9E2&pf_rd_t=101&pf_rd_p=1688200382&pf_rd_i=507846

I have nothing to share about the music, as I have not yet heard this version. I was so happy with the Emersons and the Jerusalems, I have yet to feel the need to buy another set. (I have the Fitzwilliams as well. I let a friend borrow it long term.)

[Mirror Image]

Did you buy it at amazon? Someone whose name I recognize from r.m.c-r did and was very unhappy with his purchase: http://www.amazon.com/gp/product/B00M3ECNDI/ref=s9_psimh_gw_p15_d0_i1?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=1SR3W7ZSQMCX584SK9E2&pf_rd_t=101&pf_rd_p=1688200382&pf_rd_i=507846

I have nothing to share about the music, as I have not yet heard this version. I was so happy with the Emersons and the Jerusalems, I have yet to feel the need to buy another set. (I have the Fitzwilliams as well. I let a friend borrow it long term.)

I bought it from a third-party seller on Amazon but not directly from Amazon. This reviewer wasn't happy with the packaging and, since I haven't received mine, I can't confirm whether it's an Amazon issue or a Cedille issue.

[Madiel]

MY NEW RULE: i will not accept any 13-14 (maybe 15 too, maybe 12 but not so much) from any group under 70 years of age. How can you possibly play them as dead as they need to be unless you yourself are on death's door?

And how can you write such music unless you're over 70?

Oh wait...

[NorthNYMark]

I've been listening to a lot of Shostakovich quartets, mainly via Beats music streaming, though I now own the Borodin (bovine) and Mandelring sets.  Frankly, the quartets themselves are so amazing (IMHO) that they sound pretty wonderful regardless of the interpretation; in other words, it's pretty rare that I hear a version that isn't enjoyable in some way.  That being said, I think the Pacifica set is a very good choice for a first set, in that their interpretations are somewhat "traditional" (in this case, meaning somewhat similar to the oft-recommended Russian sets by the Borodin and especially the Shostakovich Quartets), but with flawless technique and recorded sound.  They are probably not the most stylistically idiosyncratic, but that is probably good for a first set (plus, they have the best artwork).

My own personal favorite (so far) is the Mandelring set (which I had streamed quite a bit before buying).  They seem to bring out a more introverted, mysterious aspect to the music than most other interpreters, with an emphasis on nuance (though, as Sarge suggests, that does not prevent them from being quite biting when appropriate).  I find their atmospheric version of #2 particularly outstanding (especially from the second movement onward).  Their overall approach strikes me as less "folksy" than that of most Russians, yet more delicate/refined than many other non-Russian interpreters (like the Emersons or Fitzwilliams, who tend to be more relentlessly driven).  Stylistically, they remind me a bit of the Vegh Quartet (in their stereo Beethoven quartets), but without the latter's intonation issues.

After some further listening, I wanted to modify a description I made in the above post (and thanks, Karl and North Star, for your kind words about it!).  I don't think it was fair of me to characterize the Fitzwilliam set as more "relentlessly driven" than that of the Mandelrings--both are probably on the less-driven side (the Emerson set, on the other hand, is definitely at the opposite end of the spectrum).  Since I characterized the Mandelring set as being somewhat analogous stylistically to the Vegh Quartet (stereo set) in Beethoven, I think the comparative Beethoven cycle analogy to the Fitzwilliams might be the Quartetto Italiano--gentler/slower than most, but with a kind of romantic fullness and lyricism that the Veghs (like the Mandelrings in Shostakovich) replace with a somewhat more reserved focus on nuance, balancing delicacy with a certain astringency in places.  Obviously, such analogies always have to be taken with several grains of salt.  I'm surprised at how difficult it can be (at least for me) to satisfactorily describe musical performances--I have a much easier time describing visual art.

I find that I am enjoying the Fitzwilliams more than I had when I first sampled them.  Again, like the Quartetto Italiano, one can sometimes wish for more bite from them, but when in the the mood for a kind of lushly enveloping experience, their approach really hits the spot.

[snyprrr]

After some further listening, I wanted to modify a description I made in the above post (and thanks, Karl and North Star, for your kind words about it!).  I don't think it was fair of me to characterize the Fitzwilliam set as more "relentlessly driven" than that of the Mandelrings--both are probably on the less-driven side (the Emerson set, on the other hand, is definitely at the opposite end of the spectrum).  Since I characterized the Mandelring set as being somewhat analogous stylistically to the Vegh Quartet (stereo set) in Beethoven, I think the comparative Beethoven cycle analogy to the Fitzwilliams might be the Quartetto Italiano--gentler/slower than most, but with a kind of romantic fullness and lyricism that the Veghs (like the Mandelrings in Shostakovich) replace with a somewhat more reserved focus on nuance, balancing delicacy with a certain astringency in places.  Obviously, such analogies always have to be taken with several grains of salt.  I'm surprised at how difficult it can be (at least for me) to satisfactorily describe musical performances--I have a much easier time describing visual art.

I find that I am enjoying the Fitzwilliams more than I had when I first sampled them.  Again, like the Quartetto Italiano, one can sometimes wish for more bite from them, but when in the the mood for a kind of lushly enveloping experience, their approach really hits the spot.

I keep thinking of the Lindsays when I think of the Fitzwilliam. From what I've heard of the Fitzzies, I thought they play with a Gothic Romanticism, Poe-like and with lots of "relentless" energy (which I didn't really like for 5, but loved for 6). No.6 came off very darkly indeed to my ears. And they really grated cheese in 11!! I think one must simply accept that the Fitzzies are the 'British Shostakovich Cycle' and understand it as such. Whether it "sounds" Russian or just sounds like Serious Music... eh... the Fitzzies have to be counted as the clotted cream of DSCH SQ Cycles- uh- whatever that means! You don't HAVE to get them, you WANT to get them! At this point I'm curious to hear everything they have to say in every work, and I cannot say that about too many others (whether for sound or performance).



Is there any way we can move this back to the proper Thread... errr....??.... I mean, I don't caaare, more Shosty talk 4 Me!!



I have trouble going BACK to a work once I've started obsessing over a new work, i. e. I haven't listened to any of the Concertos since I started with the Symphonies, and now I'm mostly SQs... one.at.a.time.... where will it end? at the beginning!!

[Madiel]

The Fitzwilliams are the only cycle I know, and no.5 is one of my favourites. Whether it would be my favourite with different performers, who knows?

[Karl Henning]

I keep thinking of the Lindsays when I think of the Fitzwilliam. From what I've heard of the Fitzzies, I thought they play with a Gothic Romanticism, Poe-like and with lots of "relentless" energy (which I didn't really like for 5, but loved for 6). No.6 came off very darkly indeed to my ears. And they really grated cheese in 11!! I think one must simply accept that the Fitzzies are the 'British Shostakovich Cycle' and understand it as such. Whether it "sounds" Russian or just sounds like Serious Music... eh... the Fitzzies have to be counted as the clotted cream of DSCH SQ Cycles- uh- whatever that means! You don't HAVE to get them, you WANT to get them! At this point I'm curious to hear everything they have to say in every work, and I cannot say that about too many others (whether for sound or performance).



Is there any way we can move this back to the proper Thread... errr....??.... I mean, I don't caaare, more Shosty talk 4 Me!!



I have trouble going BACK to a work once I've started obsessing over a new work, i. e. I haven't listened to any of the Concertos since I started with the Symphonies, and now I'm mostly SQs... one.at.a.time.... where will it end? at the beginning!!

Ma fin est mon commencement . . .

Shostakovich's music is evergreen IMO.

[vandermolen]

I love the Violin Concerto No 1 and have a couple of recordings of it. Bought this one (very cheaply) a while back but only played it today. It is wonderful ( I have only listened to the VC so far). I have never been more moved by the work and although I am familiar with it I was on the edge of my seat. Regis have done wonders with the remastering of the 1959 recording and it was like having the artists in the room? This is undoubtedly my favourite performance of this great work:
[asin]B007EVQC1O[/asin]

[ZauberdrachenNr.7]

Marin Alsop talked interestingly this AM about Shosty's Fifth on NPR's Morning Edition.  Nothing most GMGers don't already know, but good to have this on the airwaves.

http://www.npr.org/blogs/deceptivecadence/2014/11/05/361810167/power-and-struggle-in-a-soviet-symphony