In the third movement, the musicians capture the odd lilt of the waltz with the subtle and well-harmonized waltz accompaniment against the ebb and flow of the melodic line. Despite the plethora of dissonances in Shostakovich’s writing, the players also maintain good sound quality, one that prevents the notes from sounding too abrasive but that still captures their jarring nature. With so many character changes, a significant challenge for any group is to keep the energy flowing throughout. In the former, the performers show the vibrant multi-dimensionality of emotions, ranging from the robust A-major opening to the menacing nature of the middle section. Its interpretation of the first and third movements are notable. What is reflected in the quartet is not so much a commentary on the war as a reflection of his own cognitive dissonance, and this is what the Haas quartet so effectively reveals. With the Soviet-German War underway, Shostakovich was put in a government retreat to write this quartet along with his Piano Trio (Op. 68, portrays Shostakovich at odds between political circumstance and personal conviction. Written in a little under three weeks in 1944, Quartet No.
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