The Quartet No 4, op.18 (1969) stands afar from the third one, though being connected with the idea of succession. Its cycle of three movements is rather chamber, appealing to the sphere of mostly bosom sentiments, achieving their outburst and passionate apex. The combination of candid self-expression and psychological aptitude with impressive concentration of feelings and thoughts is uttered succinctly.
The quartet is composed during a short time. The whole composing process lasted for less than a fortnight. The composer confessed, there was not any piece he had been creating so fast. The quartet is dedicated to the memory of Nina Basner, the composer's wife and friend. Although the three movements differ from each other by their imagination sphere, the whole opus seems to have been composed in a burst of inspiration, resembling the kind of integral and stirring poem, pierced with ardent deeply personal contemplation.
The first movement, the sort of a prologue, evolves slowl y, concentrating alarm and danger, precaution.
The second movement turns the whole action into the margin of commemoration. Miraculous alternation is succeeded by the whole chain of scherzos episodes and the march. Then there follows the kind of dialogue between the violin and cello.
The third movement is mostly animated in its finale, which is accepted as the top of its plot. Frightening sulky emotions are dominating here. The previous movements seem to be enlightened by its reverberated luminosity, reviving two vapoured movements. Dark and shadowy music, isn't it heard in this murky music?