Choc de Classica
We all know the seriousness and the enthusiasm of the Czech musicians as well as their particular fiery temperament they can use of when it comes to defend their own national repertoire. This ensemble, named after Antonín DVOŘÁK with the composer's family 's consent, are most endearing in their concern to be faithful to the composer.
Quartet Nr. 1, although relatively youthful and charming, is quite an accomplished piece /work and that' s exactly what the musicians had in mind.
The delicate and melodious style of the 3rd /last movement evokes that of Schubert in his happiest days. The second movement is played with as much feeling as sensitivity.
Quartet Nr. 2 written 14 years later has a firmer nature. Our musicians strike it up with a beautiful impetus and have found the right warm tenderness for the second theme.
The moving cantilena of the cello in the slow movement meets with a crystal - clear piano and satin strings. It's both a love dream and a prayer.
In the scherzo, moderate and atypical in its extreme parts, vigorous and electric in its trio, it sounds like a "sousedka", a sort of Czech Landler, alternating with a jumping " skočná", the musicians probably being familiar with their nation folklore.
The vitality of the final movement that also seems to be a summary of the Slavic dances overflows with an energetic and communicative nature.
The tones of this Ensemble, transparent in its intimate effects, naive in its rural character, sound like and orchestra in its dramatic moments that remind us of /evoke the 7th symphony. CLASSICA / Mai 2019
Více zde: https://www.dvorakpianoquartet.cz/
We all know the seriousness and the enthusiasm of the Czech musicians as well as their particular fiery temperament they can use of when it comes to defend their own national repertoire. This ensemble, named after Antonín DVOŘÁK with the composer's family 's consent, are most endearing in their concern to be faithful to the composer.
Quartet Nr. 1, although relatively youthful and charming, is quite an accomplished piece /work and that' s exactly what the musicians had in mind.
The delicate and melodious style of the 3rd /last movement evokes that of Schubert in his happiest days. The second movement is played with as much feeling as sensitivity.
Quartet Nr. 2 written 14 years later has a firmer nature. Our musicians strike it up with a beautiful impetus and have found the right warm tenderness for the second theme.
The moving cantilena of the cello in the slow movement meets with a crystal - clear piano and satin strings. It's both a love dream and a prayer.
In the scherzo, moderate and atypical in its extreme parts, vigorous and electric in its trio, it sounds like a "sousedka", a sort of Czech Landler, alternating with a jumping " skočná", the musicians probably being familiar with their nation folklore.
The vitality of the final movement that also seems to be a summary of the Slavic dances overflows with an energetic and communicative nature.
The tones of this Ensemble, transparent in its intimate effects, naive in its rural character, sound like and orchestra in its dramatic moments that remind us of /evoke the 7th symphony. CLASSICA / Mai 2019
Více zde: https://www.dvorakpianoquartet.cz/
We all know the seriousness and the enthusiasm of the Czech musicians as well as their particular fiery temperament they can use of when it comes to defend their own national repertoire. This ensemble, named after Antonín DVOŘÁK with the composer's family 's consent, are most endearing in their concern to be faithful to the composer.
Quartet Nr. 1, although relatively youthful and charming, is quite an accomplished piece /work and that' s exactly what the musicians had in mind.
The delicate and melodious style of the 3rd /last movement evokes that of Schubert in his happiest days. The second movement is played with as much feeling as sensitivity.
Quartet Nr. 2 written 14 years later has a firmer nature. Our musicians strike it up with a beautiful impetus and have found the right warm tenderness for the second theme.
The moving cantilena of the cello in the slow movement meets with a crystal - clear piano and satin strings. It's both a love dream and a prayer.
In the scherzo, moderate and atypical in its extreme parts, vigorous and electric in its trio, it sounds like a "sousedka", a sort of Czech Landler, alternating with a jumping " skočná", the musicians probably being familiar with their nation folklore.
The vitality of the final movement that also seems to be a summary of the Slavic dances overflows with an energetic and communicative nature.
The tones of this Ensemble, transparent in its intimate effects, naive in its rural character, sound like and orchestra in its dramatic moments that remind us of /evoke the 7th symphony. CLASSICA / Mai 2019
Více zde: https://www.dvorakpianoquartet.cz/
An lively , colorful and enriched with folk music interpretation.
We all know the seriousness and the enthusiasm of the Czech musicians as well as their particular fiery temperament they can use of when it comes to defend their own national repertoire. This ensemble, named after Antonín DVOŘÁK with the composer's family 's consent, are most endearing in their concern to be faithful to the composer.
Quartet Nr. 1, although relatively youthful and charming, is quite an accomplished piece /work and that' s exactly what the musicians had in mind.
The delicate and melodious style of the 3rd /last movement evokes that of Schubert in his happiest days. The second movement is played with as much feeling as sensitivity.
Quartet Nr. 2 written 14 years later has a firmer nature. Our musicians strike it up with a beautiful impetus and have found the right warm tenderness for the second theme.
The moving cantilena of the cello in the slow movement meets with a crystal - clear piano and satin strings. It's both a love dream and a prayer.
In the scherzo, moderate and atypical in its extreme parts, vigorous and electric in its trio, it sounds like a "sousedka", a sort of Czech Landler, alternating with a jumping " skočná", the musicians probably being familiar with their nation folklore.
The vitality of the final movement that also seems to be a summary of the Slavic dances overflows with an energetic and communicative nature.
The tones of this Ensemble, transparent in its intimate effects, naive in its rural character, sound like and orchestra in its dramatic moments that remind us of /evoke the 7th symphony. Isabelle Werck CLASSICA / Mai 2019
ŽIVÁ A BARVITÁ INTERPRETACE VYVĚRAJÍCÍ Z LIDOVÉ TRADICE
Nadšení a zodpovědnost českých hudebníků jsou všeobecně známy. Ačkoli zápal pro věc, obzvláště co se rozšiřování povědomí o bohatosti národního repertoáru týče, není vlastní toliko jim. Dvořákovo klavírní kvarteto okouzluje ve snaze o co nejpečlivější vyjádření skladatelova ducha.
1. kvartet - již bravurně vystavěné dílo, bylo hudebníky dobře pochopeno ve svých nuancích plných mladistvého půvabu. Delikátnost a melodičnost valčíku 3. věté skladby s valčíkem zároveň v roli scherza a finále, připomíná F. Schuberta v jeho nejšťastnějších dnech. Variace ve volné větě jsou předkládány s velkým citem a jemností.
2. kvartet s poněkud výraznějším rukopisem mistra naši hudebníci hrají s hezkým nasazením, zároveň ale dobře vystihují vřelou něžnost zpěvných témat. Dojemná kantiléna violoncella v pomalé větě se snoubí s krystalicky čistým klavírním partem a hedvábnými souzvuky smyčců - jakoby se tu jednalo o vyznání lásky a modlitbu zároveň. V atypickém scherzu, s kontrastujícími mírnějšími plochami a až nervně elektrizujícím triem s prolínajícími se náznaky sousedské a skočné, jsou si interpreti bezpochyby dobře vědomi svých národních tradic. Finale, též prolnuté slovanskými tanečními popěvky, překypuje přirozenou energičností a sdělností. Zvuk ansámblu, jeho průzračnost v intimnějších pasážích na jedné straně a až venkovská upřímnost na straně druhé, se stává téměř symfonickým v dramatických okamžicích díla, které dávají neklamně tušit spřízněnost s autorovou 7. symfonií.
Jediná výhrada tudíž není hudebního druhu: Dvořákovo klavírní kvarteto jistě ví, že uváděná díla za svá opusová čísla vděčí obchodní fantazii nakladatele Simrocka, což Dvořáka dohánělo k zuřivosti. Burghauserův katalog je v tomto směru spolehlivější: to znamená, že díla uvedená na přebalu jako op. 23 a 87 zároveň označujeme jako B.53 a B.162. Isabelle Werck CLASSICA / Mai 2019