Best listened to in a windowless room, better than best in an airless room-correctly speaking, a bunker sealed forever and enwrapped in tree-roots-the Eighth String Quartet of Shostakovich {Opus 110} is the living corpse of music, perfect in its horror. Call it the simultaneous asphyxiation and bleeding of melody. The soul strips itself of life in a dusty room.
In "Europe Central," William T. Vollmann describes Shostakovich's Eighth String Quartet (Opus 110) as an intensely haunting musical piece. He portrays it as a chilling experience that resonates more deeply in confined, suffocating spaces, emphasizing the work's dark emotional gravity. The music is likened to a living corpse, embodying both beauty and horror, creating a complex interplay between the decay of melody and the fading essence of life.
This quartet's essence lies in its ability to evoke deep feelings of despair and existential struggle. Vollmann's imagery suggests that the music encapsulates the final moments of vitality, where melody succumbs to an overwhelming sense of asphyxiation, representing not just loss but profound sorrow. The idea of listening in a sealed, airless environment enhances the experience, pushing the audience to confront the raw emotional power of the composition.
