Shostakovich: String Quartets, Vol. 3 Quartetto Noûs

• Dmitri Shostakovich (1906 - 1975): String Quartet No. 2 in A Major, Op. 68:
• 1 Shostakovich: String Quartet No. 2 in A Major, Op. 68: I. Overture. Moderato con Moto 08:36
• 2 Shostakovich: String Quartet No. 2 in A Major, Op. 68: II. Recitative and Romance. Adagio 11:27
• 3 Shostakovich: String Quartet No. 2 in A Major, Op. 68: III. Waltz. Allegro 05:47
• 4 Shostakovich: String Quartet No. 2 in A Major, Op. 68: IV. Theme with Variations. Adagio - Moderato con Moto 11:25
• Piano Quintet in G Minor, Op. 57:
• 5 Shostakovich: Piano Quintet in G Minor, Op. 57: I. Prelude. Lento - Poco più mosso - Lento 05:00
• 6 Shostakovich: Piano Quintet in G Minor, Op. 57: II. Fugue. Adagio 09:45
• 7 Shostakovich: Piano Quintet in G Minor, Op. 57: III. Scherzo. Allegretto 03:19
• 8 Shostakovich: Piano Quintet in G Minor, Op. 57: IV. Intermezzo. Lento 06:55
• 9 Shostakovich: Piano Quintet in G Minor, Op. 57: V. Finale. Allegretto 07:23
• String Quartet No. 4 in D Major, Op. 83:
• 10 Shostakovich: String Quartet No. 4 in D Major, Op. 83: I. Allegretto 03:27
• 11 Shostakovich: String Quartet No. 4 in D Major, Op. 83: II. Andantino 06:20
• 12 Shostakovich: String Quartet No. 4 in D Major, Op. 83: III. Allegretto 04:28
• 13 Shostakovich: String Quartet No. 4 in D Major, Op. 83: IV. Allegretto 09:47
• String Quartet No. 6 in G Major, Op. 101:
• 14 Shostakovich: String Quartet No. 6 in G Major, Op. 101: I. Allegretto 06:49
• 15 Shostakovich: String Quartet No. 6 in G Major, Op. 101: II. Moderato con Moto 05:20
• 16 Shostakovich: String Quartet No. 6 in G Major, Op. 101: III. Lento 04:59
• 17 Shostakovich: String Quartet No. 6 in G Major, Op. 101: IV. Allegretto 07:25
• Total Runtime 01:58:12

Info for Shostakovich: String Quartets, Vol. 3

With this latest volume in their ongoing cycle, recorded in 2023, the Quartetto Noûs passes the halfway mark of Shostakovich’s 15 quartets. The previous instalments have been recognised and praised for their full-blooded intensity and uncompromising address to the detail of these absorbing scores.

The present album returns almost to the start of Shostakovich’s quartet cycle, with a piece which he claimed (perhaps as a joke) he had originally written as his Second Quartet, before adding a piano part to make it a Piano Quintet with which he could tour and earn much-needed income. At any rate, the Piano Quintet took shape in 1940 and soon became one of his most popular pieces of chamber music: less radical in form and harmony than most of his quartet writing, more extrovert in mood, and more approachable. The Second Quartet proper was composed in 1944, soon after the Leningrad Symphony which had won the composer international celebrity. Yet the two works exemplify the contrast in style between Shostakovich’s ‘public’ and ‘private’ works.

The Waltz of the Second Quartet is one of the most extraordinary examples of his ability to transform instrumental writing into a kind of nightmare factory. Having begun in a determined A major, the Quartet closes in a much more equivocal minor.

The Fourth Quartet of 1949 likewise sets out in an almost folksy D major, working in elements of Yiddish melodies, and its skies gradually cloud over during the four movements, until the sadness of the second movement and the vitality of the third fuse to produce the violent, wailing and screaming tones of a danse macabre in the complex finale. By the time of the Sixth Quartet, written in 1955, Shostakovich had become a practised exponent of double-edged rhetoric, of music which wears a happy face while twisting its hands in anxiety or even agony.

The serene light of G major bathes the initial Allegretto, but there are signs of grief, perhaps occasioned by the recent death of his wife Nina, scattered throughout the composition.

The Quartetto Noûs (from the Greek: intellect, mind, but also inspiration, creative capacity), has established itself among the most interesting musical Italian ensembles of its generation, giving captivating interpretations in which the Italian tradition of string-playing merges with other significant European schools such as the Musik Akademie in Basel (where they studied with Rainer Schmidt of the Hagen Quartett), and the Accademia Chigiana in Siena (Gunter Pichler of the Alban Berg Quartett).

Winner, among other awards, of the Farulli Prize in the Abbiati competition, the most prestigious award of Italian music criticism, the Quartetto Noûs demonstrate their individual approach to music spanning the quartet repertoire, and in ambitious contexts such as playing from memory and totally in the dark.

Quartetto Noûs

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Booklet for Shostakovich: String Quartets, Vol. 3