String Quartet No. 6 in G major, Op. 101 (1956)
String Quartet No. 7 in F-Sharp minor, Op. 108 (1959)
String Quartet No. 8 in C minor, Op. 110 (1960)
String Quartet No. 11 in F minor, Op. 122 (1966)
String Quartet No. 9 in E-Flat major, Op. 117 (1964)
String Quartet No. 10 in A-Flat major, Op. 118 (1964)
String Quartet No. 12 in D-Flat major, Op. 133 (1968)

In a previous review of Vol. 1 of this complete cycle I wrote: "The Cuarteto Casals enters the music without any pre-conceived opinions or perceptions and delivers it at face value, without exaggeration, caricature or hyperbole." This certainly applies again to this second volume and I would even go so far as to say that there's an almost nonchalant and lackadaisical attitude behind their playing. But don't be fooled or turned away by this perception, after all it is strictly my own subjective opinion, because the essence and mind-set of Shostakovich get a chance to undeniably poke through this unvarnished surface. Some other ensembles have a tendency to slap on so much shellac as to alter the color of what lies beneath.

If you watch videos of any of their performances you will notice the lack of grandstanding or affected gesticulations that serve only to deflect attention away from the lack of true musicianship. Their account of the final Largo movement of the infamous Quartet No. 8 in C minor is deeply profound and genuine in feeling. The easygoing nature of the opening Allegretto from the Quartet No. 6 in G major, adulterated by moments of torment, comes across perfectly here. And the dynamic blend of their instruments within the ever so bleak Adagio of the Quartet No. 9 in E-Flat major couldn't be bettered.

In my opinion, the 15 String Quartets by Dmitri Shostakovich (1906-1975) are the analogous 20th century counterpart to Beethoven's 19th century quartets - musical manifestations of their time and place. What better way to experience them than to hear them performed by an ensemble whose obvious mandate is to serve the music.