String Quartets
Show recording detailsHC23060
Originally recorded in January 2018
Classical
Chamber
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About
Dmitri Shostakovich's String Quartet No. 7 lasts no more than twelve minutes. The composer wrote it in March 1960 and dedicated it to his first wife Nina Vasilyevna Varzar - or rather, to her memory, for she had died five years earlier of an insidious form of cancer; suddenly, and without warning. It is a very personal work, one that is close to the composer's heart, for here Shostakovich breaks the strict sequence of keys he imposed on himself. Alban Berg's String Quartet No.1 has 2 movements, bears the opus number 3, and is nevertheless considered the composer's first autonomous work, even though the composer himself points out that he received it personally from Schönberg. An homage to Arnold Schönberg, then, who propelled his pupil into an independent career with this journeyman piece? Or is it really a declaration of love? While working on his Opus 3, Alban has already been hopelessly in love with Helene for a long while. Georg Alexander, alias György Sandor Ligeti, completed his first string quartet in 1954, when he was still living in Budapest at the age of thirty-one and recently divorced. For the second time! His first marriage, to his childhood sweetheart Brigitte, lasted only three years, and the second, to the psychology student Veronika Spitz, was entered into for purely political reasons. In 1952, Veronika, who came from a family of former factory owners, was in danger of being deported to a labour camp by the communist regime in Hungary as a representative of the bourgeoisie, and it was only by getting married to Ligeti that a semblance of protection could be afforded to her. As soon as the danger is averted following the death of Stalin, they divorce as agreed.
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Reviews
“…The sound is clear and well-balanced. This is an interesting release, with much splendid playing by the Minetti …”
The Strad Recommends
“…It’s a performance of quite staggering insight and power, unfolding as a succession of tense build-ups and partial releases, never denying the composer’s delightful, at times magical humour, yet adding a gurning grotesqueness in forceful projections of his more extreme sonic demands. It’s as if the Minetti players step back from imposing an interpretation, focusing instead on delivering the detail of Ligeti’s wild musical imaginings, and end up with an even more bristling, crackling account as a result…”
“The Minettis show a marked affinity for the soundworld of 20th-century string quartet repertoire … “ ****
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