Quatuor Danel [Marc Danel & Gilles Millet (violins), Vlad Bogdanas (viola), Yovan Markovitch (cello)]

Shostakovich String Quartet no.4 in D major Op.83 (1949)
Weinberg String Quartet no.4 in E flat major Op.20 (1945)
Shostakovich String Quartet no.5 in B flat major Op.92 (1952)

Wigmore Hall, London
Tuesday 19 January 2024

by Richard Whitehouse Photo (c) Marco Borggreve

Having got past its second instalment this time around, the Quatuor Danel’s cycle of string quartets by Shostakovich and Weinberg tonight encountered its most impressive programme thus far; the latter’s Fourth Quartet being framed by the former’s Fourth and Fifth Quartets.

Given its public premiere over four years after completion (it seems likely there were private hearings in the interim), Shostakovich’s Fourth Quartet is one among several of his pieces in which Jewish melody and inflection predominates. The key surely lies in emphasizing these as a structural as much as, if not more than, an emotional facet – as the Danel demonstrated with a take on the preludial Allegretto whose fervour never seemed anecdotal. The ensuing Andantino’s heightened pathos becomes anguished at its climax, while the scherzo is one of those speculative movements whose intimations the Danel projects so convincingly. With its implacable heading to an impulsive culmination then its allusive subsiding into an equivocal half-close, the final Allegretto conveys a tangibly but by no means concretely human drama.

Arguably his first masterpiece in the genre, Weinberg’s Fourth Quartet finds this composer tackling the Beethovenian model head-on – albeit with an opening Allegro whose unhurried manner and burnished textures only takes on greater urgency in its latter stages. The Danel brought this out accordingly, then pointed up the expressive contrast with a scherzo whose driving and ingratiating main themes alternate without hope of resolution. No less potently realized was the interplay between strident rhetoric and halting processional in the ensuing Largo, its unrelieved sombreness tentatively countered by a final Allegro which hints at an affirmative end, only to dismiss such possibility with its desperate closing crescendo. Well- received at its premiere, this quartet should have secured Weinberg’s reputation forthwith.

Other than his Twelfth, the Fifth Quartet is Shostakovich’s finest such achievement – directly preceding his Tenth Symphony with which it shares a comparable formal as well as expressive inclusivity. The Danel launched its opening Allegro with ample resolve, as if to underline the cumulative momentum of an outwardly Classical sonata form whose strenuous development carries over into a heightened reprise, then on to a coda whose pizzicato undertow establishes an emotional distance that connects seamlessly with what follows in this continuous design.

What follows is the most inwardly profound of Shostakovich’s slow movements – its overall remoteness tempered by allusion to his recent works then embargoed, with a passing raptness that might or might not be inherently personal in import. The Danel maintained concentration unerringly here, then headed straight into a finale whose initial geniality duly gives way to an explosive central climax and, in turn, tentative retracing of earlier ideas before a coda whose fatalistic radiance yields the most affecting end to any of its composer’s large-scale statements.

It certainly brought out the best interpretively from the Danel, who still found energy for an encore in the guise of a Capriccio that Weinberg wrote in the wake of his First Symphony in 1943: its amiable if sometimes barbed playfulness an ideal way to conclude a superb recital.

You can hear the music from the concert below, in recordings made by Quatuor Danel:

For more information on the next concert in the series, visit the Wigmore Hall website. You can click on the names for more on composer Mieczysław Weinberg and Quatuor Danel themselves.

Published post no.2,125 – Friday 22 March 2024