SHOSTAKOVICH STRING QUARTETS St Petersburg String Quartet Hyperion CDA67155 £££ String Quartets Nos. 5, 7 and 9; TPT: 73'12

A skilful and passionate reading of the darker side of Shostakovich's musical persona.

Excepting the faux-naif first and the profoundly accessible eighth, Shostakovich seems to reserve his blackest moments for the odd-numbered quartets. It is interesting that, following their well-reviewed release of numbers 4, 6 and 8 on Hyperion (CDA67154), the St. Petersburg here concentrate on the darker side.

All these quartets have major-key designations, but are inflected with the minor from the outset. The fifth has a symphonic drive and Beethovenian energy, only to lose its way in attenuated despair. The seventh starts with characteristically flip melancholy, to explore a huge range of emotions within its thirteen minutes. The 9th is more discursive, pointing the way to Shostakovich's later style with snatches of 12-tone rows and warped recitatives.

A huge commitment, energy, range of sound and emotion are therefore required from the performer. Shostakovich cycles are often tackled by young quartets who feel they can generate searing intensity with youthful vigour. They are not frightened of making an ugly sound where necessary, and can often create a highly charged atmosphere, although sometimes at the expense of finesse.

The St. Petersburg Quartet were formed in 1985, and have therefore brought a great deal of experience to these interpretations. Their provenance marks them from the outset as committed to Shostakovich. They are an extremely well-balanced and -matched ensemble, giving highly energised and committed performances; indeed, I prefer this recording to the later of their two Borodin sets, which for me is too often marred by the cloying sweetness of the first violinist. The St. Petersburgs are at their best in the highly energetic, ostinato-laden, developmental passages, where they drive the music forward without ever releasing their grip on the tempo. This recording seems to have found the ideal balance between youthful vigour and adult refinement.

My one reservation is that the sound-world is a little consistent and unadventurous. Generally, the tone is warm and the recording sumptuous, and though they do go for a vibratoless sound at some of the bleaker moments, the moods could sometimes have been more extreme.

This is a small quibble in the context of a skilful and passionate reading, and the disc is very highly recommended. The St Petersburgs have also already released the second and third quartets on CDA67153, and I look forward eagerly to their forthcoming release of the late quartets, and with curiosity to where they will insert the first!

Simon Parkin