This Russian composer started composing string quarters relatively late, in 1938, on the prelude to the big Stalinian purges. The quartets were a discrete refuge from where to continue his musical experiments. He never abandoned this form, of condensed tension. He tried ideas and entire movements which he later incorporated to his “major” pieces, a dense, lucid and incandescent musical world. These pieces allow us to approach the exuberant art of the mistreated Russian genius, in its intimacy, as it allowed to achieve the sought-after and cherished freedom.