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I don't know if we can classifiy this as THE definitive reading of the life work of one of this centuries most celebrated creator,but The Borodin certainly capture in a profound way the emotive dramatic core, the essence,colour,gesture,tone and philosophic depth reflecting the weight of this century.These Quartets inhabit a different space than the Symphonies although the two genres are always placed side by side, incorrectly I think. The Quartets had a purer conception,and they always worked best when left alone without addendums as,the Piano Quintet Op.57, included with admirable aggressive playing from Sviatoslav Richter.Here in the Quintet I thought rendered the strings as mere accompaniment,not first chair actors/ speakers. Shostakovich's creativity always required a voice, that is one element that is shared with the Symphonies,where flute,clarinet,bassoon are given solo roles as a form of commentary on some previous atrocity,or a sense of repose,of serene reflection, and the various First Violin Solos especially that occur throughout all these works is one focus,a parallel with his immense Symphonies.The Borodin allows interpretive freedoms,like concerto soloists each role,and gives it the space it needs, as in the demonic Allegro molto from the Eighth Quartet. The Borodin continually distinguish themselves in not being afraid to play an ugly sound,a Gypsy-like gesture, as again moments from the Eighth where the viola merely marks out a chord quite obviously, with an ugly tone, or the simple provincial minor chord outlines in the Third Quartet,something a street musician might have done.The Borodin know how to create great tension as in the opening of the Ninth Quartet,compare their reading with others as The Manhatten Quartets rather glib reading (for the lunch time crowd) of the Ninth. This tension is created by a larger dynamic gradation of sound, between what is loud and what is almost barely perceptible with The Borodin. Great drama is engaged here with biting nasal(again ugly) violin sounds always in the demonic Allegrettos throughout these works. Shostakovich's creativity does have a one-dimensional cast like he was revealing/telling the same story over and over again waiting patiently for humanity to change. Well not in the last century. There are more hopeful utterances however as in the opening moments of the Tenth Quartet,a incredibly expansive timbral one with a large Brucknerian sound,yet framed within classic proportions. The Third Quartet as well,written right after the Second World War is positive momentarily,where more Russians perished than anyone else.The Emerson Quartets readings,for they have a complete set, I found quite reserved,restrained,but not uninteresting opting for a more spiritual,solemn reading,with thinner overall timbres,less overall density of sound, rather than the Borodin here who bring a very large pallette of colour,drama,aggresiveness and irrationality to their playing.
