Founded in 1984 in Switzerland the Carmina Quartet has been the recipient
of
a number of awards for its recordings. This Sony Classics release sees
them
in a Dvořák programme and joined for the Piano Quintet in A
major
by Zurich-born pianist Teo Gheorghiu.
Buoyed by the great success of his fifth visit to England in 1886 Dvořák
the next year completed his substantial and joyous
Piano Quintet
in A major Op. 81. It was composed in the Slavic folk idiom that
pervades so many of Dvořák’s best scores and written
before his extended stay in the United States of America. Some years
previous, in 1872, Dvořák had actually composed a three
movement
A major Piano Quintet,
B. 28, Op. 5. Dissatisfied
with this he destroyed it but some fifteen years later obtained a copy
and began making revisions. Although it has been recorded several times
it is rarely heard today. In the quicker movements of the
Piano Quintet,
Op. 81 the Carmina and Gheorghiu play with unerring vibrancy and an
uplifting sense of joy. What wonderful music Dvořák wrote
for the
Dumka:
Andante con moto with its glorious main
melody. It’s most impressively rendered here. Unfortunately I
found the recorded sound rather over-bright for my taste being especially
uncomfortable in the forte passages. The main culprit is Gheorghiu’s
too closely recorded piano with the cello not far behind.
From the recordings in my collection of the
Piano Quintet,
Op. 81 my first choice is the evergreen 1962 Vienna account from Clifford
Curzon and the Vienna Philharmonic String Quartet led by Willi Boskovsky.
Spirited and highly persuasive, this is classic chamber music playing
of the highest quality. It’s available digitally re-mastered on
Decca 448 602-2 (c/w Schubert
Trout Quintet, D.667). Another
marvellous version that I often play is the stunningly vital performance
from the Leipzig String Quartet with pianist Christian Zacharias. This
was beautifully recorded in 2003 on MDG Gold 307 1249-2 (c/w Dvořák
String Quintet, Op. 97).
During his stay in America from 1892 to 1895 Dvořák composed
some exceptional works. In 1893 he completed the
New World Symphony.
He spent his summer holidays at a Bohemian colony at Spillville in Iowa
where he immediately felt identification and great happiness among his
fellow countrymen. Under these favourable conditions he completed in
just a matter of weeks his so-called
American Quartet. This found
instant acclaim and enduring popularity for its masterly construction
and splendidly memorable invention. The gloriously melodic opening
Allegro
ma non troppo is heard here being played with real affection. Taken
at a most judicious pace the players adroitly reveal an elusive undercurrent
of passion. The
Lento is beautifully done with generosity and
tenderness. An uplifting exhilaration is there to be heard in the delightful
two final movements to round off a fine performance. Here the bright
sound quality still feels a touch over-close but didn’t detract
too much from my enjoyment. My reference recording is from the Emerson
recorded in 1984 at the American Academy of Arts and Letters, New York
City. They play with assured concentration, intensity and unerring passion
on Deutsche Grammophon 445 551-2 (c/w Tchaikovsky No. 1 and Borodin
No. 2). I have also long admired the recording from the Talich Quartet
who may not be as silky smooth as some but play with proficiency, real
expression and impressive unity. The recording from circa 1975 is available
as part of a 3 disc box on Calliope Cal 3229.1 (c/w Dvořák
Piano Quintet No. 2; String Quintet and the String Quartets, Opp. 61,
105, 106).
The splendid Carmina Quartet play with an abundance of vitality and an
uplifting
joie de vivre but they are hamstrung by often unflattering sonics.
This
is a highly crowded market with some fierce competition which the Carmina
cannot
displace.
Michael Cookson
Masterwork Index:
American
quartet
