# Dvorak - String Quintet 3 op.97 'American' (Quintet review)



## Merl (Jul 28, 2016)

Whilst in Spillville, Dvořák began writing compositions influenced by all the music around him, first with his 12th "American" Quartet and then, 'inspired' by the music of the Kickapoo tribe, the op.97 Quintet. Dvorak wrote the whole quintet in five weeks in 1893, Both the American Quartet and Quintet were immediately very succesful with the Quintet being premiered by the Kneisel Quartet in New York on 13 January 1894. Many still debate what influence the native American music really had on him or whether it was the Slovak folk music he heard in Spillville but whatever the case something inspired him to create one of his greatest works. 
The 1st movement, Allegro non tanto, begins with a lovely melody for solo viola and a moody cello. The melody returns in the minor mode, then in the major mode. Allegedly, Dvořák adapted a Native American melody that he heard in Spillville for the second theme of the first movement The two violas share a melancholy theme and Dvořák reintroduces the viola's opening melody to conclude the movement. The 2nd movement, Allegro vivo , begins, with a viola solo using a single-note ostinato then layers of melody accumulate on top then in the trio a lovely melody passes from viola to violin. Things change when a solo violin plays over a pizzicato backdrop. The 3rd movement (the emotional core of the quintet) is a set of variations on two themes, in larghetto. Dvořák wrote the second theme of this movement as an idea for a new American national anthem, using "My Country, 'Tis of Thee." as his inspiration. 
The Finale is a joyful Rondo with a frenetic finish, full of folk tunes. Some people tend to criticise the finale and highlight it as the weak point of Dvorak's quintet but its typical of Dvorak to introduce such a Humouresque-like movement and I love its simplicity and how small sections partly recall the earlier movements. 

Here's a fine live performance from the Dover Quartet with Robert Diaz on additional viola. 






With around 40+ recordings its a quintet that's well served by recordings. Tbf, few totally mess it up but I'll pick out my favourites in the list below. Btw the only recordings I can't recommend are the Mozarteum String Quintet recording because it's poorly played, and the last movement is way too slow, and the Zukerman Chamber Players account because its boring. Otherwise nearly every other recording made it into the list below. 

Recommended

Stamitz / JanTalich jnr
Pacifica / Tree
Czech Philharmonic Sextet
European SQ / Strabl (1964) 
Berlin Philharmonic Octet members
Emerson / Neubauer
Budapest / Katims (1951)
Talich / Adamopoulous
Raphael Ensemble
Kocian / Suk (Bonton) 
Wiener Streichsextett 
Smetana / Suk (1986) 
Takacs / Power 
Dvorak / Kodousek (1967)

*Highly recommended 

Vlach Quartet Prague / Kyselak *- quite broad but played with real beauty and an adagio to die for. 
*Talich / Zigmund *- the best of the Talich's 3 recordings with a very Czech flavour and tone. 
*Lindsays / Ireland *- rather bombastic and unsubtle but if you're after a recording with intense power this is it. Vibrant recorded sound. 
*Garlitsky et al* - this is a fine contender fro. OEHMS with plenty of Czech charm and a brisk Ness and fission in the playing that is winning. 
*Parker / Kashkashian* - beautiful and sensuous recording. There may be less aslavoc charm but the playing and sense of unity is entrancing. 
*Vogler / Masurenko *- little vibrato and a darker reading but that doesn't work against it. 
*Vienna Philharmonia Quartet (1975)* - rich and sensuous in the slow movement and doesn't hold back elsewhere 
*Chilingirian / Rowland-Jones* - really well-paced and poised account with some glorious touches. Perfect intonation and fine sound. 
*Budapest Quartet / Trampler (1960s)* - so much to recommend this glorious historic recording and although the performance is equal to the one Trampler laid down later with the Guarneri the sonic range is limited and the recording lacks some bass. 

*Special

Leipziger / Rohde *- very brisk and beautifully played account. Perfect intonation 
*Panocha / Kluson * - can't go wrong with playing of this quality. Special 3nsrmble playing. Like a warm hug. 
*Guarneri / Trampler *- characterful and powerful performance that still holds its own in stiff competition. 
*Skampa / Chorzelski *- with a full, rich sound this is a persuasive and beautiful recording stressing the lyrical qualities of this fine work. 
*Melos / Causse* - whilst the Czech quartets have that rustic tinge the Melos have the strength and quality in this terrific recording from the end of their career. 
*Kocian / Kluson* - quite a bright Praga recording but it's so alive and upfront that it wins you over. The pace is set in a riveting first movement. 

*Top Picks (some great ones to choose from) 

Pavel Haas /Nikl* - some people foolishly write this performance off. Big mistake. It's an exemplary one with playing as alive and characterful as the Smetana 70s one.
*Keller / Deeva *- this mid 90s recording remains a classic with Deeva's gorgeous playing making the already excellent Keller sound even better. That 2nd movement! Mmm! 
*Martinu / Xuereb* - this Talent recording is bright and combustive and there's a real urgency about it. It's not rushed (the slow movement is beguiling) just always moving forward. 
*Jerusalem / Hagen *- with state of the art recorded sound and a reading that is dynamically riveting and subtly wondrous I find this to be a performance where everything just sounds right. A real grower.
*Smetana / Suk (1973) *- this fine analogue effort still remains a favourite due to its Czech bounce, clarity and strong character. The Larghetto is stunning. 
*L'Archibudelli* - superb period instrument performance bursting with energy. The dance rhythms and clarity are sparkling in this quite serious and technically perfect, rare recording.


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