Information
Composer: Antonín Dvořák
- String Quartet No. 13 in G major, Op. 106: I. Allegro moderato
- String Quartet No. 13 in G major, Op. 106: II. Adagio ma non troppo
- String Quartet No. 13 in G major, Op. 106: III. Molto vivace
- String Quartet No. 13 in G major, Op. 106: IV. Finale. Andante sostenuto - Allegro con fuoco
- String Quartet No. 12 in F major, Op. 96 "American": I. Allegro ma non troppo
- String Quartet No. 12 in F major, Op. 96 "American": II. Lento
- String Quartet No. 12 in F major, Op. 96 "American": III. Molto vivace
- String Quartet No. 12 in F major, Op. 96 "American": IV. Finale. Vivace, ma non troppo
Pavel Haas Quartet
Veronika Jarůšková, 1st violin
Eva Karová, 2nd violin
Pavel Nikl, viola
Peter Jarůšek, cello
Date: 2010
Label: Supraphon
http://www.supraphon.com/en/catalogue/releases/?item=973
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Reviews
Gramophone Classical Music Awards 2011: Recording of the Year
The PHQ find the drama and the detail in Dvořák
The first point to make about this highly enjoyable new coupling concerns the range of dynamics on offer, principally in the first movement of Op 106, at around 3'56", where a sudden dip to pianissimo intensifies the argument, especially noticeable in view of the surrounding drama. This is one of Dvorák’s most confident structures, a rustic musical argument that shies away from over-refined projection. The log-and-cinders glow of the slow movement is very much on a par with Dvorák’s late “American” masterpieces (which, strictly speaking, this isn’t – he wrote it on returning from his second American trip). The Pavel Haas Quartet play with plenty of feeling and they also relish the rhythmic cut and thrust of the Molto vivace third movement, capturing to perfection the more relaxed Trio’s sunny spirit. The finale opens to a gentle smile then keys up for some dancing exuberance, a high-point on this particular recording (cue 1'04" on track 4). As with the first movement, there’s an abundance of varied drama, the kind you hear in the finale of the Seventh Symphony.
In a sense I wish the Quartet had chosen another, less frequently recorded coupling. Much as I love the American Quartet, for me, say, Op 34 would have been far preferable. Then again, I suppose all good Czech quartets need to parade “their” American on disc, and this version is as good as most, a lyrical, high-spirited traversal, with few mannerisms and plenty of warmly traced detail. My only gripe concerns the finale’s second set (at around 0'50", tr 8) where tiny hesitations along the line don’t quite achieve the desired “lilting” effect. I can imagine them jarring on repetition. In other respects it’s a very good performance and a worthy companion for Op 106, which to say the least is more than good, a strong rival to the Emersons (DG, 10/90, 2/91) and the Panochas (Supraphon) in fact, though my all-time stereo favourite is a lean and sinewy performance by the Prague String Quartet (DG, 10/90R), a wonderful 1973 recording that’s currently only available as part of a highly recommendable complete set of the Dvorák Quartets. If you see it, bag it.
-- Rob Cowan, Gramophone
The PHQ find the drama and the detail in Dvořák
The first point to make about this highly enjoyable new coupling concerns the range of dynamics on offer, principally in the first movement of Op 106, at around 3'56", where a sudden dip to pianissimo intensifies the argument, especially noticeable in view of the surrounding drama. This is one of Dvorák’s most confident structures, a rustic musical argument that shies away from over-refined projection. The log-and-cinders glow of the slow movement is very much on a par with Dvorák’s late “American” masterpieces (which, strictly speaking, this isn’t – he wrote it on returning from his second American trip). The Pavel Haas Quartet play with plenty of feeling and they also relish the rhythmic cut and thrust of the Molto vivace third movement, capturing to perfection the more relaxed Trio’s sunny spirit. The finale opens to a gentle smile then keys up for some dancing exuberance, a high-point on this particular recording (cue 1'04" on track 4). As with the first movement, there’s an abundance of varied drama, the kind you hear in the finale of the Seventh Symphony.
In a sense I wish the Quartet had chosen another, less frequently recorded coupling. Much as I love the American Quartet, for me, say, Op 34 would have been far preferable. Then again, I suppose all good Czech quartets need to parade “their” American on disc, and this version is as good as most, a lyrical, high-spirited traversal, with few mannerisms and plenty of warmly traced detail. My only gripe concerns the finale’s second set (at around 0'50", tr 8) where tiny hesitations along the line don’t quite achieve the desired “lilting” effect. I can imagine them jarring on repetition. In other respects it’s a very good performance and a worthy companion for Op 106, which to say the least is more than good, a strong rival to the Emersons (DG, 10/90, 2/91) and the Panochas (Supraphon) in fact, though my all-time stereo favourite is a lean and sinewy performance by the Prague String Quartet (DG, 10/90R), a wonderful 1973 recording that’s currently only available as part of a highly recommendable complete set of the Dvorák Quartets. If you see it, bag it.
-- Rob Cowan, Gramophone
More reviews:
ClassicsToday ARTISTIC QUALITY: 10 / SOUND QUALITY: 10
BBC Music Magazine PERFORMANCE: ***** / SOUND: *****
MusicWeb Magazine RECORDING OF THE MONTH
http://www.allmusic.com/album/dvor%C3%A1k-string-quartets-opp-106-96-american-mw0002087369
http://www.amazon.com/Dvorak-String-Quartets-Op-106-96/dp/B0043XCKJO
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Antonín Dvořák (September 8, 1841 – May 1, 1904) was a Czech composer. He was the second Czech composer to achieve worldwide recognition, after Bedřich Smetana. Following Smetana's nationalist example, many of Dvořák's works show the influence of Czech folk music, such as his two sets of Slavonic Dances, the Symphonic Variations, and the overwhelming majority of his songs. Dvořák wrote in a variety of forms: nine symphonies, ten operas, three concertos, several symphonic poems, serenades for string orchestra and wind ensemble, more than 40 works of chamber music, and piano music.
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https://en.wikipedia.org/wiki/Pavel_Haas_Quartet
http://www.pavelhaasquartet.com/en/
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