Antonín Dvořák (1841-1904) - String Quartet No. 13 in G major, Op. 106 (B. 192, 1895) 36:37
1. I. Allegro moderato 9:18
2. II. Adagio ma non troppo 10:13
3. III. Molto vivace 6:24
4. IV. Finale. Andante sostenuto - Allegro con fuoco 10:34
Antonín Dvořák - String Quartet No. 12 in F major, Op. 96 "American" (B. 179, 1893) 26:26
5. I. Allegro, ma non troppo 9:35
6. II. Lento 7:14
7. III. Molto vivace 3:53
8. IV. Finale. Vivace, ma non troppo 5:33
I'm satisfied. It went quickly... Antonin Dvorak jotted down at the end of the sketch for his String Quartet Op. 96. The work, one of the most beautiful quartet pieces in the history of music, originated in America hard on the heels of the "New World" Symphony. I wanted to write for once something very melodious and simple, and I always kept Papa Haydn before my eyes. The American critics lavished it with praise: "Why didn't Dvorak come here earlier, since he can write such great music in America." The "American" quartet, and, perhaps to an even greater extent, the subsequent quartet, Op. 106, the first composition Dvorak created after his return from America, are a heartfelt matter for the youthful Pavel Haas Quartet. In the wake of the previous, highly acclaimed recordings of the complete quartet works of Janacek, Haas and Prokofiev (Classic FM Gramophone Award, BBC Music Magazine Award, MIDEM Cannes Classical Award, etc.), the ensemble displays its outstanding qualities performing the paramount Dvorak pieces too: equilibrium between precision and spontaneity, remarkable interplay and the "solo" potential of all the musicians. In all likelihood, Dvorak would have jotted down the words I'm satisfied beneath this new recording too. Listeners certainly have something special to look forward to.
Dvorak's "American" quartet and Op. 106 - a heartfelt matter for the Pavel Haas Quartet.
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