Bedřich Smetana (1824-1884)
String Quartet No 1 in E minor, ‘From my Life’
Antonin Dvořák (1841-1904)
String Quartet No 12 in A major, ‘American’, Op 96
Two Waltzes, Op 54
Wihan Quartet
rec. 2020, Martinu Hall, Lichtenstein Palace, Prague
NIMBUS ALLIANCE NI6422 [64]
Here’s a treat for lovers of chamber music: two favourite, Romantic string quartets by the joint godfathers of Czech music with a bonus of the two piano waltzes Dvořák arranged for string quartet, making a programme of just over the hour – although the musically gluttonous or parsimonious will no doubt complain about not getting the full 80-minute CD capacity. The players are the distinguished Wihan Quartet, fulfilling another purist criterion that Czech repertoire should be played by native artists. Finally, the presentation is of Nimbus’ habitual high standard with helpful, succinct notes by Jaromir Havlik – one or two minor formatting and proofing slips notwithstanding (“quite” for “quiet”; “From”, twice on the back cover, should be italicised – nit-picking stuff, I know, but…) – and I wonder whether Nimbus might follow the trend adopted by many a label of switching to cardboard digipacks instead of plastic cases?
Given the popularity of these works, there is no shortage of established, recommendable recordings. My own favourites are the same pairing from the Tokyo String Quartet on harmonia mundi and the Lindsays on ASV. Crude comparison of timings suggests that the Wihan adopt more somewhat leisurely speeds than most, yet their phrasing and attack are more robust than, for example, the more restrained Tokyo in the opening of the ‘American’, creating a folksier zestfulness. Likewise, the Lindsays are first more refined and the brilliance of the digital sound in this new disc intensifies the hardness of the Wihan’s sound; it is recorded very “up-close” to the point of being “in yer face”. Of course, that means no detail is lost and the depth of bass sound permits us to relish the cello’s sonority. There is certainly no lack of pathos or drama in their telling of Smetana’s musical narrative - which is mostly tragic, the Polka notwithstanding – and even that has a constant melancholy undertone. I find their loud and intense account of the central Largo sostenuto a little lacking in tenderness compared with the Tokyo and Lindsay quartets. Both the Lindsays and the Tokyo are given a softer acoustic and are generally less gung-ho in the overt emotionalism stakes, playing more affectionately with more rounded edges to their phrases, which, paradoxically, I find more moving and contrasts more effectively with the more anguished passages. I do not want to overdo my point – the Wihan’s playing per se is superbly lush and moments such as the chilling high E depicting the onset of Smetana’s deafness are beautifully done but I am talking about nuance.
I find their treatment of Dvořák’s more cheerful quartet more relaxed, congenial and less debatable all round. They still generate plenty of tension to balance the lyricism but everything seems to “sing” more – perhaps as much a function of Dvořák’s writing of the piece as their execution of it – and they just seem temperamentally more in tune with the music here. The performance is perfect in terms of articulation, intonation and interpretation; the vivace finale is especially exhilarating. Just occasionally that very close sound glares but let that pass.
The two “filler” waltzes are uncomplicated bagatelles, whimsical, wistful and charmingly played.
While I might not be abandoning my preferred recordings, so much about this one is pleasing that it deserves an enthusiastic welcome.
Ralph Moore
