Antonín DVORÁK (1841-1904)
String Quartet No. 9 in D minor, op. 34, B75 (1877) [33:56]
String Quartet No. 14 in A flat major, op. 105, B193 (1896) [32:55]
Wihan Quartet
rec. live, Convent of St Agnes, Prague. DDD
NIMBUS ALLIANCE NI 6115 [67:30]
The opening of String Quartet 9 (tr. 1), though given ample momentum by the
Wihan Quartet, has much of the character of a slow movement. It sports a first
violin melody of sorrowful cast and a passionate expanded close in which all
the quartet are involved before the character of the theme is illuminated
by a more showily scored repeat. The second theme (1:28), for all its minor
key opening is more companionable. The Wihans find in it a touch of the jocular
yet the close of the exposition is haunted by reflective fragments. The development
(6:52) begins eerily in B major. After a passage (7:46) which brings Brahms,
the work’s dedicatee, to mind there’s an especially striking transformation
of the second theme in the viola (7:54). The tremolando treatment of
the accompaniment in the recapitulation makes it more restless before a fiery
coda (11:37). This is declamatory music and it’s passionately declaimed by
the Wihans.
I compared the 1995 recording by the Vlach Quartet (Naxos 8.553373). Here
are the comparative timings
| Timings | I | II | III | IV | Total |
| Wihan | 12:13 | 6:53 | 7:41 | 7:09 | 33:56 |
| Vlach | 13:05 | 7:04 | 8:52 | 7:05 | 36:06 |
The Vlach’s more measured tempo makes for a sadder, less colourful opening,
as is their tone generally in comparison with the Wihans. However the Vlach’s
second theme, presented with a Schubertian lilt, is more thoughtful and melancholic.
The Vlach’s development has a colder, starry quality where the Wihans have
more visionary brightness. Overall the Vlach gives a strong, resolute account
but one with little hope. The greater impetus of the Wihan brings more animation,
a more optimistic urgency to the second theme and recapitulation.
The second movement (tr. 2) has the characteristics of a scherzo and a polka
without being fully either. On both counts this is because it withdraws from
time to time into reflection, notably in the ‘scherzo’ coda (2:37). The Wihans
catch the variations of pace which suggest those of mood. The Trio (3:21)
is then more openly lyrical and sweetly savoured. Slightly more measured,
the Vlach Quartet isn’t as jolly as the Wihan but brings a more rugged sense
of dance. The Wihans are closer to the scherzo manner through a touch of swagger
at the beginning and artistic toying in the coda. The Trio responds well to
the greater contrast, air and expansiveness given to it by the Vlach.
Those moments of vision the Wihan Quartet found in the development of the
first movement are extended now to the entire slow movement (tr. 3). Using
muted strings, a hazy quality emerges yet there is also golden sheen to the
upper register. The Wihans cogently display the seamless flow of expression
with a fine sense of shape and progression. That said, perhaps this is music
which needs more time to savour, in which case the more sustained account
by the Vlach will satisfy more. The tension achieved by having muted strings
for this soulful outpouring is then clearer. Both performances offer an intense
experience of expressive playing, the Wihans the more sonorous, a touch more
objective, yet eloquently revealing the take-up of the melody by all instruments
in turn from 1:51 and the upper three from 5:32.
Clarity of articulation is at a premium in the opening theme of the finale
(tr. 4) and the Wihans provide this with more crispness than the slightly
abrupt Vlachs. It’s debatable whether the Wihans’ artier approach to the second
theme (0:51) is preferable to the Vlachs’ more romantic archness. The Wihans’
development (4:02) keeps up an unwavering manner whereas the Vlachs treat
this, unusually but refreshingly, as a calmer interlude before the resumption
of brilliant drive. The Wihan’s presentation of the recapitulation of the
second theme by all instruments in turn from 5:09 is nevertheless compelling.
String Quartet 14 has a more complex opening movement (tr. 5) though the Wihans’
colourful, contrasted and dramatic performance makes it sound, as it should
- all of a piece. The opening of the first theme is presented soberly in the
introduction, but cut short by protests. It then appears all brightness (1:12)
with a second part (1:31) of languishing ease. In contrast there are elements
of energy, a brief motif (1:46) and excited second theme canter (2:33). Is
the whole movement more about mood than melody? Structure gives it coherence:
the development features the first theme in repose (3:17), then in stress
(3:54), while a sleekily ardent version of its second part appears in the
viola (5:10).
I compared the 1990 recording by the Lindsays (ASV CDDCA 788). Here are the
comparative timings. I give the Wihan’s finale timing before applause for
exact comparison:-
| Timings | I | II | III | IV | Total |
| Wihan | 8:07 | 6:02 | 8:02 | 10:15 | 32:26 |
| Lindsays | 8:14 | 5:43 | 8:55 | 9:26 | 32:18 |
The Lindsay’s introduction (1:29 against the Wihan’s 1:12) is more meditative
and studied than the Wihan but less warm. In the main body of the movement
the Wihan displays an attractive continuity of line with lively if less marked
contrasts than the Lindsay. The Wihan is happier, more relaxed, less frenetic,
easier on the ear, though the Lindsay offers more winsome, nuanced treatment
of the second part of the first theme and a more magically poised coda with
more attention to the silences within the music.
The second movement scherzo (tr. 6) is a furiant in a playful, inconsequential
manner yet with a solid close, appropriately somewhat underplayed by the Wihan.
By making the opening the basis of organic growth Dvorák is able to explore
melodic freedom and airborne potential in the first violin. An extensive Trio
(1:44-4:30) is given a beautifully rounded performance by the Wihan, with
the first violin lovingly echoed and supported by the cello in the opening
section. In the second section (from 2:42) the first violin alone is most
free and lyrical. The Lindsay’s account is spirited and intensely aware but
neither as carefree nor as warm as the Wihan.
The fervent slow movement (tr. 7) is notable for its rich texture. When the
first violin melody is repeated (0:45) it’s given to the second. The first
has a sweet counter-melody but then the cello’s melodic role also becomes
evident. This is all before the second half of the theme (1:28) which is at
first more serious, later growing fiery in affirmation. The middle section
(3:43) is little more than chromatic wandering yet the Wihan brings to it
a disturbed, questioning ambience. The theme then returns in lighter vein
allowing for a more celebratory but still passionate close. The Wihan catches
all the nuances well with more warmth, colour and emotive charge than the
Lindsay. I also prefer the Wihan’s faster tempo which brings a more natural
flow. Though less spontaneous, the Lindsay also has much to offer: a greater
quality of stillness, more dynamic range and a graver, more substantial middle
section.
The finale (tr. 8) is a medley of three principal dance themes which develop
from and flow into each other. This is done with a skill which both displays
and enhances the sheer joy of this movement. The first dance is started by
the cello, one player/dancer setting the others off. The second is a freer
melody which suddenly yet apparently naturally arrives (1:57) as a relief
from the somersaults around it. The third (3:10) is a more rounded and homely
affair but all have their own calmer and more vigorous elements to savour.
Here the Wihan’s steadier tempo than the Lindsay matches Dvorák’s Allegro
non tanto marking better, emphasising relish more than the Lindsays’ dexterity
and virtuosity. With the Lindsay the calmer aspects are more contrasted but
with the Wihan the seamless interchange of enjoyment and calm enables the
quieter passages to sing more persuasively.
This Wihan Quartet live recording is forward and vivid, the audience unobtrusive.
It gave me a lot of pleasure and I also liked the contrast of two Dvorák quartets
from different periods. The earlier is more direct, the later more skilful
in its artistry without forgetting the strength of melody and intensity of
expression that make both works rewarding.
Michael Greenhalgh
Gave me a lot of pleasure