SHOSTAKOVICH String Quartets Nos 1-4
Second disc in Pacifica’s Shostakovich pairing project
View record and artist detailsRecord and Artist Details
Composer or Director: Dmitri Shostakovich, Sergey Prokofiev
Genre:
Chamber
Label: Cedille
Magazine Review Date: 08/2012
Media Format: CD or Download
Media Runtime: 127
Mastering:
Stereo
DDD
Catalogue Number: CDR90000130

Tracks:
Composition | Artist Credit |
---|---|
String Quartet No. 1 |
Dmitri Shostakovich, Composer
Dmitri Shostakovich, Composer Pacifica Quartet |
String Quartet No. 2 |
Dmitri Shostakovich, Composer
Dmitri Shostakovich, Composer Pacifica Quartet |
String Quartet No. 3 |
Dmitri Shostakovich, Composer
Dmitri Shostakovich, Composer Pacifica Quartet |
String Quartet No. 4 |
Dmitri Shostakovich, Composer
Dmitri Shostakovich, Composer Pacifica Quartet |
Author: David Fanning
I wondered if the fact that I enjoyed the Prokofiev and Shostakovich’s Third Quartet more than I did the others was down to my finally having tuned in to the Pacifica Quartet’s style. Their playing is always clean and well focused – tonally, technically and interpretatively. But it works best, I feel, when the musical character itself is clear-cut, as it is more or less throughout those two pieces on the second CD. Going back to Shostakovich’s First Quartet, I found, as on first listening, a certain reluctance to probe beneath the surface, showing up in less variety of tonal shading and rhythmic nuance than more seasoned ensembles deploy. As a prime example, the first movement feels like a sensitive and musicianly read-through, but one that never questions the way forward; and though the scherzo third movement is undoubtedly stable and full of finesse, those qualities should surely be the means to other, subtler ends.
At the other end of the dramatic spectrum, there is more defiance and stoicism to be found in the outer movements of the Second and Fourth Quartets, and in the inner ones of No 3. The ethnic undertones in the finale of No 4 are so understated in the early stages as to be all but absent, though the final page certainly ebbs away most effectively.
In short, if you are looking for excellent modern recording and clean playing, plus the bonus of relevant extra repertoire, or if you are allergic to overstatement in Shostakovich, then there is certainly much to enjoy and admire with the Pacificas. But if a distinctive interpretative angle is your priority, I would advise looking elsewhere.
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