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The most popular of Dvorák's quartets is no. 12, Op. 96, dubbed the "American" quartet because it was composed during his sojourn in the United States. The Vlach's give the first movement Allegro a tasteful, romantic interpretation. The famous slow movement, one of the glories of chamber music, is done with ravishing beauty. The sprightly Molto Vivace is done with and good humour, while the final movement is spirited and graceful in turns.
I have an older recording with the Gabrieli Quartet on LP, which is very beautiful, as well. Since it is similarly conceived, a comparison is in order. Though not better than the Vlach's, their performance of the Lento second movement is particularly lovely. However, they seem a little more self-consciously arty, less idiomatic, than the Vlach Quartet does in this repertoire. I suppose this is a matter of taste, but I prefer the Vlach performance. The recording, while quite good, is not as natural as the Naxos one.
I have no comparisons for Quartet no. 13, Op. 106, but the playing is quite wonderful. The highly original first movement Allegro is full of cross rhythms, and sounds like nothing else I have ever heard. The Adagio second movement is has achingly beautiful close harmonies, which are perfectly judged by the Vlachs. The third movement is a forthright Molto Vivace, given a vigourous performance. The fourth moverment starts out slowly, but soon becomes more agitated. It seems the titles of most of Dvorák's movements do not express the contents, as they contain material with a variety of moods and tempos. Suffice to say that the Vlach Quartet negotiates the interpretative difficulties of the fourth movement with ease, and give a rousing climax.
This is a very enjoyable disc, with excellent performances of fine music.
There is little indigenous material in the "From the New World" symphony and none at all in the "American" quartet. I suspect that after having gone to so much trouble and expense to entice Dvorak to become Director of the National Conservatory of Music in New York, the school's founder must have been rather displeased at his failure to generate the new "American" musical identity for which purpose he had been engaged. Probably a bit peeved by his early departure from the Conservatory as well . . . Not the right man for the post.
Despite his exposure to wider musical spheres, Dvorak and his music remained deeply rooted in Bohemia. He continued the cultural tradition of Smetana and his handling of the strongly Czech material in his quartets makes a wonderful contrast with the Germanic Viennese prototypes, although it has to be admitted that a couple of Dvorak's quartets are unnecessarily long and, worse, boring. However, Opus 96 ("American") and Opus 106 most assuredly are not of this pair. The "American" quartet is a justifiably popular piece and this recording coupled with the Opus 106 is amongst the best.
I have never understood the relevance of cost in the purchase of recorded music; if you like it/want it, buy it, at least at the reasonable prices obtaining in the US. Nevertheless, if price is a factor, Naxos seem to have removed any objections to purchase on that ground. No excuses not to buy this really excellent offering.
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