The Complete Quartets (Kronos Quartet)

by

Альфред Гарриевич Шнитке

Edit

This is a powerful, harrowing cycle of string quartets, beautifully played by the Kronos Quartet, and recorded for Nonesuch. The First, from 1966, defiantly uses serialism, and this contributed to Schnittke's subsequent dissident status with the regime. He was forced to make his living doing film scores, which for some reason was allowed. The Second Quartet, from 1980, shows a remarkable continuity with the First, despite the long interval.

It is the Third Quartet (and we have here the recording previously issued on WINTER WAS HARD in 1987) from 1983 that marks Schnittke's turn to "polystylism," with references to Beethoven, Wagner and Shostakovich. Less harsh, this piece captures as well as any Schnittke's basic affinity with Mahler and Shostakovich, as opposed to the more radical innovations in 20th century music. The 35-minute Fourth Quartet is masterful, full of the anguish and dread so characteristic of Schnittke.

This is a splendid set that stands alongside the finest interpretations of Bartok, Shostakovich, Kurtag, Ligeti, and Carter. I consider Schnittke to be one of the best composers of the late 20th century -- see my SCHNITTKE: A LISTENER'S GUIDE for more recordings and reviews.

Listening to the Kronos quartet playing Schnittke's Fourth Quartet is purely an intellectual exercice. In their seriousness they don't seem to capture the emotional spirit of the late composer. Compare it to the intelligent, emotional rendition of the Fourth Quartet by the Alban Berg Quartet (dedicatee of the work) and you will measure the ocean between them... Kronos should smile for a change! On another note, the CD's booklet is interesting and fun too!

Again listen to the alternative: Alban Berg Quartet for the Fourth and Borodine for the Third and the First... The discovery is worth spending a bit more time and effort!

I recommend also the Arditti String Quartet sensitive and intelligent performance. The Schnittke second quartet is incredibly rich in colors. The pulsation is always present, the folk melodies underlying the rich texture are well defined and never forced. The fourth movement is simply out of this world.

This performance shames the fashionable, predictable, mono dimensional Kronos.