String Quartet No. 1 in C major, Op. 49
String Quartet No. 2 in A major, Op. 68
String Quartet No. 3 in F major, Op. 73
String Quartet No. 4 in D major, Op. 83
String Quartet No. 5 in B-flat major, Op. 92

Ludwig van Beethoven's 16 String Quartets are often credited as being the supreme incarnation of chamber music. Arguably, this could be rephrased to say "the supreme incarnation of 19th century chamber music." Along with his 15 landmark Symphonies, it could be said that Dmitri Shostakovich's 15 String Quartets (a planned No. 16 never came to fruition) are "the supreme incarnation of 20th century chamber music."

By the time Dmitri Shostakovich (1906-1975) composed his String Quartet No. 1 in C major, Op. 49 in 1938, he had already attained international recognition, especially after having completed his iconic Symphony No. 5 a year prior. Despite being late to the string quartet game, he immediately struck points by applying his trademark sound and style to the idiom.

It must be difficult to compose for only four parts which are all from the same instrument family and all share the same tonal characteristics without encountering pitfalls. It's easier to add splashes of color when dealing with a varied group of instruments. It's also easier to hide shortcomings within orchestral textures. But when it comes to the string quartet, each individual part has to pull its own weight as well as form an integral part of the group, and take part in and contribute to the narrative.

And this is where Shostakovich shines. Just as within his symphonies, he weaves a solid motivic as well as emotive thread from start to finish of each movement. Unlike many composers who have a tendency to meander from idea to idea, from state to state, he never leaves the listener stranded or bereft as to where the music is leading. All of this while in order to survive, he was forced to compose film or incidental music in line with the regime's decree, and write this "serious" personal music for another day.

I much like the way the Cuarteto Casals enters the music without any pre-conceived opinions or perceptions and delivers it at face value, without exaggeration, caricature or hyperbole. In accordance with the way it was conceived its delivery is very much a team effort, focused on the big picture rather than individual parts or passages. I for one can't wait to hear what they will bring to the table within the darker and more substantial quartets 6-15 due for release over the next two years.

A cycle to watch and follow.