COMPARISON RECORDINGS
Borodin Quartet (1967) (LP): Rostislav Dubinsky, Yaroslav Alexandrov,
vv; Dmitri Shebalin, va; Valentin Berlinsky, vc
Borodin Quartet (1984) [ADD]: Mikhail Kopelman, Andrei Abramenkov,
vv; Dmitri Shebalin, va; Valentin Berlinsky, vc
Manhattan Quartet (1989): Eric Lewis, Roy Lewis, vv; John Dexter,
va; Judith Glyde, vc.
Fitzwilliam Quartet (1977) [ADD]: Christopher Rowland, Jonathan
Sparey, vv; Alan George va; Iaon Davis, vc.
The works at hand are:
Nº
|
key
|
Op.
|
year
|
mvts
|
Rubio
|
Borodin I
|
Borodin II
|
Fitzwilliam
|
Manhattan
|
1
|
C
|
49
|
1938
|
4
|
13.55
|
13.50
|
14.15
|
15.23
|
14.46
|
2
|
A
|
68
|
1944
|
4
|
35.42
|
35.55
|
38.01
|
35.44
|
34.38
|
3
|
F
|
73
|
1946
|
5
|
31.56
|
32.45
|
33.33
|
31.30
|
28.39
|
4
|
D
|
83
|
1949
|
4
|
25.37
|
24.55
|
25.07
|
25.44
|
25.37
|
5
|
Bb
|
92
|
1952
|
3
|
31.50
|
29.25
|
31.37
|
30.56
|
32.58
|
6
|
G
|
101
|
1956
|
4
|
25.19
|
24.40
|
24.14
|
26.40
|
24.34
|
7
|
f#
|
108
|
1960
|
3
|
13.12
|
11.50
|
12.29
|
12.44
|
12.40
|
8
|
c
|
110
|
1960
|
5
|
20.18
|
20.50
|
21.50
|
20.43
|
20.26
|
9
|
Eb
|
117
|
1964
|
5
|
26.07
|
28.25
|
26.51
|
27.13
|
25.17
|
10
|
Ab
|
118
|
1964
|
4
|
24.09
|
23.40
|
24.11
|
22.53
|
23.33
|
11
|
f
|
122
|
1966
|
7
|
16.53
|
16.50
|
15.16
|
16.03
|
16.35
|
12
|
Db
|
133
|
1968
|
2
|
27.10
|
-
|
27.25
|
27.40
|
26.12
|
13
|
bb
|
138
|
1970
|
1
|
20.44
|
-
|
19.56
|
19.07
|
19.54
|
14
|
F#
|
142
|
1973
|
3
|
28.03
|
-
|
28.15
|
26.30
|
26.57
|
15
|
eb
|
144
|
1974
|
6
|
35.39
|
-
|
36.24
|
34.46
|
35.25
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
A quartet named after a violin maker other than
Stradivarius is taking something of a chance. Most people will
assume that only Stradivarius violins "sound really good"
and that other violins will have inferior sound. But as Jascha
Heifetz proved in many experiments, nobody, not even the critics,
could tell whether he was playing his Guarnerius or a modern copy;
then, if he announced which violin he was playing, the critics
would hear what they expected to hear. So, when he would announce
he was playing a copy and go ahead and play the Guarnerius, the
critics would complain it didn’t sound good. Or he would announce
the Guarnerius and play the copy and the critics would rhapsodize
over the tone. But the point is, Heifetz could tell. Sure, a Stradivarius
or a Guarnerius sounds good, but mainly it is much easier to play,
especially if you’re Heifetz.
So, do these string instruments by David Rubio
sound good? You’ve never heard any sound any better. The players
are doing all the work to guarantee that. The playing is dramatic
and sensual. They particularly like to settle into a nice rich
tonal chord and let it resonate among the four instruments and
hold the taste of it for a second. They treat this music like
Art of the Fugue, keeping a mostly solemn, unruffled mood
throughout. The 1984 Borodiners on the other hand play some of
the faster movements with a torchy vibrato and a trace of schmaltz
and find a bouncy Russian folk tune here and there which they
play with an earthy authenticity.
The point most clearly to be gained from the
table of timings above is how much alike they all are. While the
best recorded performances of the symphonies seem to be those
which deviate the most from printed metronome markings, everyone
here seems to stay pretty close to the score. Yet some of the
movements are all but unrecognisable from one performance to the
next, so, without deviating from tempo, great individual expression
is possible. The string quartet is a most flexible and most sensitive
instrument.
The 1970 Manhattan Quartet play with a particularly
American sense of drama, that is relatively free of ‘baggage’
from the past. Here do not listen for Bach, or Stalinist terror,
or the ancient sense of earthy Russian folk music. If the legendary
Hollywood Quartet had ever recorded these works, I believe they
would have sounded just like the Manhattan Quartet. Beautiful
sound (digital recording certainly doesn’t hurt), balanced dramatics,
broad range of emotions, more extroversion here and there than
in the European versions. Their performance of the slow movement
of Quartet #2 has an almost operatic sense of tragedy, whereas
with the 1969 Borodiners this movement is a totally solitary and
terrifying experience. With the Manhattan Quartet the peasant
dance in Quartet #1 sounds more like something from the stage
of Oklahoma than from a Russian village.
The earlier quartets tend to be more dramatic
and more varied. The later quartets are largely serene and remote,
or ironic.
The Fitzwilliam Quartet greatly pleased Shostakovich.
He allowed them to premiere the final three quartets in the West
and their recording was the first complete one. It has the most
live acoustic of all, and I am not the only reviewer to wonder
if the reverb were artificially boosted. Theirs is the most ‘romantic’
performance in the traditional sense with greater contrasts of
tempo and texture than the others.
For a most detailed quartet by quartet comparison
and rating of all known recordings, check out: http://develp.envi.osakafu-u.ac.jp/staff/kudo/dsch/work/sq1e.html.
(replace the number in the final entry with the
number of the quartet in question. For instance for the tenth
quartet change it to: sq10e.html.)
In the third movement of Quartet #2 listen for
that little pizzicato figure that made such a nice touch in Alan
Hovhaness’s Mt. St. Helens Symphony.
A very satisfactory version of these milestones in the quartet
form.
Paul Shoemaker