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Bed​ř​ich Smetana: String Quartet No. 2 / Anton​í​n Dvo​ř​á​k: String Quartet No. 13, Two Waltzes

by Kocian Quartet

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Damon & Lynn Pritchett
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1.
Smetana: String Quartet No. 2 in D Minor I. Allegro 05:03
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2.
Smetana: String Quartet No. 2 in D Minor II. Allegro moderato 05:32
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3.
Smetana: String Quartet No. 2 in D Minor III. Allegro non piu moderato, ma agitato e con fuoco 04:27
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4.
Smetana: String Quartet No. 2 in D Minor IV. Presto - Allegro 02:28
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5.
Dvořák: String Quartet No. 13 in G Major, Op. 106 I. Allegro moderato, B. 192 09:31
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6.
Dvořák: String Quartet No. 13 in G Major, Op. 106 II. Adagio ma non troppo, B. 192 09:43
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7.
Dvořák: String Quartet No. 13 in G Major, Op. 106 III. Molto vivace, B. 192 06:08
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8.
Dvořák: String Quartet No. 13 in G Major, Op. 106 IV. Andante sostenuto - Allegro con fuoco, B. 192 10:03
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9.
Dvořák: Two Waltzes, Op. 54, B. 105 I. in A Major - Moderato 03:34
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10.
Dvořák: Two Waltzes, Op. 54, B. 105 II. in D Major - Allegro vivace 02:53
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about

The Quartet No. 2 in D Minor (1882) of Smetana innovates with its almost ‘open’ architecture and its non-cyclical set of themes, to which Janáček would refer directly, and with almost operatic use of abrupt key and rhythmic changes in order to stage a story that is dense as it is occasionally brusque. Even though his melodic material only rarely authentic folk tunes, its nationalist character is patent due to the metre (polka step) and lyric forms (dumka) that it stylises. With this sole score, Smetana moves Czech musical nationalism from the Romantic era to the expressionism of the 20th century.

First played by the Bohemian Quartet on 10 October 1896, the Quartet in G major of Dvořák begins with an Allegro moderato in which a sumptuous first theme is stated by the violins, while a second, lyrical, pastoral and more Brahmsian, gives the work strong architectural unity. These two figures are developed by the complete quartet in full voice, the autumnal mellowness of the viola enriching the hues of this grandiose movement. The Adagio ma non troppo is one of the finest examples of ‘dvorakian’ monothematic construction. Stated by the cello in E flat, this melody is then developed by means of contrasts and modulations in minor before to conclude in C major. The recapitulation introduces a last appassionato. The scherzo brings a respite, even if its incisive rhythm revives a discourse in which the two trios are announcing those by Bruckner and Suk. The finale, Andante sostenuto, is offering a play on contrasts of rhythm and tempo, alternating Allegro con fuoco and singing molto cantabile, before the explosion of the coda coming back in 2/4 time.

Awards: Choc by Le Monde de la Musique


“In these works with subtle contrasts, the Kocian confirm that they form today one of the best Czech quartets with the Pražák and the Talich. The way of connecting rhapsodic effects like perfectly proportioned accelerando [...], illustrates this identification of the Kocian to the Slavonic spirit of the music of Dvořák, to what are added opulent sonorities which can acidify with a polka [...] or to swell throbbing tutti.” (Diapason, March 2003)

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credits

released October 1, 2007

Kocian Quartet (Ensemble)

LIVE RECORDED IN THE AUDITORIUM OF DIJON, MARCH 11, 2004. SOUND ENGINEER: Franck GUINFOLEAU.
EDITING, MASTERING: Karel SOUKENĺĺK, PRAGUE

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