Customer Reviews

String Quintets 2

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As the other reviewer on this page mentions, the String Quintet Op. 77 adds a double bass to the mix, thus underscoring the Schubertian melodic contours of Dvorak's chamber music. (Of course, Schubert's Trout Quintet for piano features a double bass.) Op. 77 may lurk in the shadows of the more celebrated Op. 97, with its references to Native American dances, but Op. 77 is prime Dvorak from 1875. This was the breakout year for Dvorak the symphonist since it was the year of his first mature symphony, No. 5. That maturity translates into the chamber music as well; Dvorak was at last able to successfully meld Czech musical influences with the central European Romantic tradition represented by his benefactor Brahms. The Quintet is thus a big, bold statement in the manner of middle-period Brahms but with that special Schubertian lyrical emphasis that makes Dvorak so special. The Vlach Quartet and Jakob Druckman capture both the lyricism and the power, making this just about as fine a performance as you'll hear.

The Andante Appasionato is a string quartet fragment that's nice to hear as well but no real reason for celebration even among dedicated fans of Dvorak. However, Drobnosti (Miniatures) is a work of the fully mature Dvorak (from 1884, the year of the great Seventh Symphony) and very much worth knowing. Again, the performance is all that it should be, and Naxos provides fine sound throughout.

The interpretative freshness of Antonin Dvorak's melodic vein is carved in relief with special earnestness in his chamber music.

From his String Trios, Trios for piano, Piano Quartets, String Quartets, but specially in his two String Quintets (op. 77 and Op. 97), where his musical genius blossoms with admirable intensity. They are featured by a haunting loveliness, good taste, sublime inspiration and domain of the form.

As a matter of fact, this is the field where Dvorak glitters with major luminosity, and similarly to Brahms, he is free to let it flow those admirable lyric moments filled of serene charm and vital expression.

It might be said without hesitation that Brahms and Dvorak literally not only grabbed the entire attention of countless hard lovers of this musical genre, but influenced at the same time the new emerging generations of musicians , thereby you may find traces of their influence in Grieg, Sibelius, Sinding, Busoni and even Max Reger.

To my view, these two notable works constitute one of the highest peaks of this beloved composer, much more venerated by his symphonic pieces or symphonic poems respect this still unknown genre.

These versions are not only extraordinary, but capture with pristine eloquence the lovely taste of the Bohemian folklore. Go for it without hesitation.

The quintet on this CD is different from Opp. 1 & 97 because it includes a bass. This gives it an occasionally thrilling depth of sound. As is typical of good Dvorak the tunes are memorable and easy to enjoy. This is very well recorded. Highly recommended.

String Quintets 2 is a Naxos recording from 2000 under the direction of the Vlad Quartet Prague. On this recording they have also included the use of a double bass which is played by Jakub Waldmann. Keith Anderson has written the music notes. Highly recommended. 5/5.

The Vlach quartet has given us a very fine series of Dvorak quartets for Naxos, but the two discs that comprise their series of string quintets might, on the whole, be even more valuable. The three quintets are scored for different combinations, and many consider to be this, the second, scored for string quartet and double bass, to be the finest (I am less sure that it really beats the utterly marvelous third, but that's another story); it is, at the very least, among Dvorak's most wonderful chamber pieces, chock full of colors, breathtakingly beautiful melodies, vigorous rhythms, and is on the whole stirringly atmospheric and optimistic in a manner not entirely dissimilar to Mendelssohn's octet.

I am happy to report that the augmented Vlach quartet (with Jacub Waldmann on double bass) is utterly satisfying in every respect. The lines are clear, the characterization is strong, and the players command the wide palette of colors and burnished tone to realize this gorgeous work thoroughly. In short, here is all the spirit and vigor, depth, atmosphere and color you could ask for.

They are equally compelling in the couplings. The Intermezzo, originally a movement from the quintet, is sensitively dispatched, gentle and reflective, whereas the Drobnosti (miniatures), Dvorak's Romantic Pieces for violin and piano in their original instrumentation, are magically delicate, less full-blooded than in the violin and piano arrangement but in my view even better (possibly because of the wonderful performances). The nostalgically tinted Andante appassionato, from an early uncompleted string quartet, sports some very fine tunes but is overall less memorable, even though the Vlach provides a deeply felt performance. The recording is righ and deep with a wonderful balance. Very strongly recommended, then.