Utwory na płycie:

• I Allegro non troppo
• II Andante - Andantino
• III Moderato - Allegretto - Andante
• No. 10 in C-sharp minor
• No. 15 in D-flat major
• No. 14 in F-sharp minor
• No. 5 in D major
• No. 16 in B-flat minor
• No. 24 in D minor
• No. 17 in A-flat major
• I Andante - Allegro moderato - Allegro energico
• II Andante
• III Allegro giocoso

Dmitri Shostakovich:
String Quartet No. 5 in B flat, Op. 92
24 Preludes, Op. 34 (arr. Judith van Driel and David Faber):
No. 10 in C sharp minor
No. 15 in D flat
No. 14 in F sharp minor (transposed from E flat minor)
No. 5 in D
No. 16 in B flat minor
No. 24 in D minor
No. 17 in A flat

Grażyna Bacewicz:
String Quartet No. 4

"As a string quartet of the 21st Century, we are searching for the meaning of the music we perform. Our goal is to convey the image which emanates from the music in the most authentic way. As a kind of time-transcending minstrel, the Quartet is continuously searching for the best ways to reflect the music from the past, with a new meaning and for a contemporary audience” - Dudok Quartet, Amsterdam.

In a challenging and thought provoking new album the Dudoks couple two composers who famously masked their true feelings in their music. Shostakovich’s famous ambiguities are present in his 5th quartet of 1951, composed at the same time as the 1st violin concerto and the 10th symphony.

Bacewicz’s 4th quartet, written shortly after the oppression of the Poles in the late 1940s by the Soviet regime, is full of folk music influences (Bacewicz had a keen interest in traditional music which spared her from any aggravation from the Polish puppet regime), and was therefore ‘acceptable’ to the authorities. But she also erects a hall of mirrors around the work to mask her true emotions. Is this happy music? Is it masking something darker? That the composer was a fine violinist is clearly apparent in the 4th quartet which did much to establish her reputation.

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Recording: De Buitensociëteit, Zutphen, The Netherlands, 9–11 May 2022