VISIT WESTCORKMUSIC.IE

LATEST ADDITION TO THE ARCHIVE

String Quartet No.13 in G major Op.106

Antonin Dvořák (b. 1841 - d. 1904)

Zemlinsky Quartet (photo credit: Tomáš Bican)

Zemlinsky Quartet (photo credit: Tomáš Bican)

Composer
Antonin Dvořák (b. 1841 - d. 1904)
Composition Year
1895
Work Movements
1. Allegro molto
2. Adagio ma non troppo
3. Molto vivace
4. Andante sostenuto – Allegro con fuoco
Artists
Zemlinsky Quartet (František Souček, Petr Střížek [violins], Petr Holman [viola], Vladimír Fortin [cello])

Programme Note Writer:
© Ian Fox

Dvo?ák spent  a successful two and a half years in New York, despite bouts of homesickness, so he was delighted to get back to Prague in May 1895 and to return to his teaching post in the Conservatory.   At first he wrote nothing new for some months, but it was not long before he was picking up his pen and he quickly completed five important symphonic poems, as well as this Quartet and his last one, No.14 in A flat major. As so often happens with publishing, the G major Quartet was actually issued last, as Op.106, with the A flat Quartet appearing first as Op.105.  Then his love of opera took over and he turned his attention to the theatre, including Kate and the Devil and Russalka, completing an amazing repertory of masterpieces across a wide musical spectrum.

He had started the Quartet in America and it opens with a motto, apparently a Czech bird call, in rising sixths. This becomes an important element, weaving its way through the movement.  It is full of that effervescent joy which Dvo?ák could conjure up so effectively in his finest music.  The glorious Adagio is one of his loveliest creations and is clearly from the same mood as its equivalent in his famous American Quartet, which preceded it. It radiates peace as the serene melody rises slowly from the introductory chords and expands in blissful contentment. The music is allowed to become more urgent in places but soon returns to its opening mood. The second theme with its pizzicato accompaniment is particularly memorable. Dvo?ák allows it to build momentum into a brief climax before the more contemplative mood returns but this in turn rises to a further peak suffused with rich chords. The opening murmurings bring the movement gently to its introspective conclusion.

A rumbustious scherzo changes the mood. It is in the form of a rondo with two contrasting episodes between the repeats of the main melody.  The first recalls the New World Symphony, written two years earlier, while the second is in the style of a stately Bohemian folk dance.  Dvo?ák places a short slow introduction at the start of his finale, there is a touch of Beethoven to its introspective pace, but it quickly dissolves into a fiery movement . The first theme is ebullient, the second more melancholy, They are developed engagingly, with the slow opening phrase making a brief return towards the end but soon being replaced by the main theme and a joyful conclusion.

FULL DETAILS SEARCH FOR MORE

String Quartet No.13 in G major Op.106

Composer: Antonin Dvořák (b. 1841 - d. 1904)
Performance date: Monday 30th June 2014
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

Share on Twitter | Share on Facebook
http://archive.westcorkmusic.ie/details/view/cmf/370

Composer Antonin Dvořák (b. 1841 - d. 1904)
Work Title String Quartet No.13 in G major Op.106
Composition Year 1895
Work Movements 1. Allegro molto
2. Adagio ma non troppo
3. Molto vivace
4. Andante sostenuto – Allegro con fuoco
Artist(s) Zemlinsky Quartet (František Souček, Petr Střížek [violins], Petr Holman [viola], Vladimír Fortin [cello])
Performance Date Monday 30th June 2014
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:36:21
Recording Engineer Richard McCullough, RTE
Instrumentation Category String Quartet
Instrumentation 2vn, va, vc
Programme Note Writer © Ian Fox

Dvo?ák spent  a successful two and a half years in New York, despite bouts of homesickness, so he was delighted to get back to Prague in May 1895 and to return to his teaching post in the Conservatory.   At first he wrote nothing new for some months, but it was not long before he was picking up his pen and he quickly completed five important symphonic poems, as well as this Quartet and his last one, No.14 in A flat major. As so often happens with publishing, the G major Quartet was actually issued last, as Op.106, with the A flat Quartet appearing first as Op.105.  Then his love of opera took over and he turned his attention to the theatre, including Kate and the Devil and Russalka, completing an amazing repertory of masterpieces across a wide musical spectrum.

He had started the Quartet in America and it opens with a motto, apparently a Czech bird call, in rising sixths. This becomes an important element, weaving its way through the movement.  It is full of that effervescent joy which Dvo?ák could conjure up so effectively in his finest music.  The glorious Adagio is one of his loveliest creations and is clearly from the same mood as its equivalent in his famous American Quartet, which preceded it. It radiates peace as the serene melody rises slowly from the introductory chords and expands in blissful contentment. The music is allowed to become more urgent in places but soon returns to its opening mood. The second theme with its pizzicato accompaniment is particularly memorable. Dvo?ák allows it to build momentum into a brief climax before the more contemplative mood returns but this in turn rises to a further peak suffused with rich chords. The opening murmurings bring the movement gently to its introspective conclusion.

A rumbustious scherzo changes the mood. It is in the form of a rondo with two contrasting episodes between the repeats of the main melody.  The first recalls the New World Symphony, written two years earlier, while the second is in the style of a stately Bohemian folk dance.  Dvo?ák places a short slow introduction at the start of his finale, there is a touch of Beethoven to its introspective pace, but it quickly dissolves into a fiery movement . The first theme is ebullient, the second more melancholy, They are developed engagingly, with the slow opening phrase making a brief return towards the end but soon being replaced by the main theme and a joyful conclusion.