Perspective, perspective. Hearing these four 
                works gives the listener just that. The contrast between the Third 
                Quartet and the other works is brutal. 
              
 
              
We start however with the unrepentant and unrelieved 
                avant-garderie of Schnittke's 1966 First Quartet written 
                at the suggestion of Rostislav Dubinsky. Unlike the Kubin first 
                quartet (also on Arco Diva 
                review) this is rigorously serial and while no doubt 
                ingenious in construction its passionate discordant sighs and 
                plunk-plinks bring little reward to the generalist listener. The 
                party apparatus condemned the work as anti-Soviet which in some 
                quarters these days should per se guarantee it plenty of 
                exposure. 
              
 
              
The Third Quartet is more approachable 
                with its use of the harmonic adventures of di Lasso and Gesualdo 
                in the two outer movements and Beethoven in the central agitato. 
                Shostakovich's brimming ratcheted tension is evident in the finale 
                alongside the di Lasso. While it becomes more expressively abstruse 
                in the finale the ideas are connected and a sense of narrative 
                flow exists even if it does end in exhausted negation. 
              
 
              
The Fourth Quartet was written following 
                the composer's emergence from a series of strokes. It is his longest 
                quartet at approaching 37 minutes and was completed a month or 
                so before his departure from Moscow to Hamburg where he spent 
                his last years eventually in complete paralysis. It is a fairly 
                bleak piece of writing as may be expected. While it avoids the 
                discontinuity of the First Quartet it remains a radical mix that 
                will suit only the hardiest of musical travellers. The longest 
                movement is the last. 
              
 
              
Also uncompromising and much closer to the First 
                Quartet is the Stravinsky Canon with its long-held 
                notes, note-slaloms and quiet dynamics throughout. 
              
 
              
The all-female Kapralova Quartet, who have by 
                the way recorded their namesake's quartet, engage urgently and 
                with convincing technical command with Schnittke's demanding creativity. 
                The recording is exemplary. The notes are well done - very helpful 
                in preparing this review. 
              
Rob Barnett  
              
 
              
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