Antje
Weithaas and friends perform Dvorak's Piano Trio in G minor, Op.26 and
Suk's Quartet, Op.1 in live recordings from the Spannungen festival,
2017.
In 1876, Dvorak composed the Trio in G Minor, op. 26 in a mere 16 days.
Certain traits in this trio already seem to reveal Dvorak's profound
affinity with Brahms on an instinctive level. Gradually emerging from a
series of brief motifs, the first movement's main theme is subjected to
thematic treatment throughout. This movement is also the longest,
lasting a total of twelve minutes. It's sombre mood does not yet reflect
the true personal style of he who would soon write the Slavonic Dances.
Notwithstanding, certain cello cantilenas in the slow movement and
towards the end of the sombre, violent scherzo offer a foretaste of the
great melodic gifts that Dvorak would soon reveal to the world.
The composition Suk submitted for the final exam is none other than the
Piano Quartet in A Minor, op. 1. The first movement's disarming
impetuousness engulfs the listener like a shock wave, betraying not only
the influence of Brahms, the true doyen of Late Romantic chamber music,
but also that of Dvorak, his own teacher. More significantly, however, a
personal style already becomes noticeable in this work. The energetic
introductory movement is followed by a clear contrast: a muted,
nocturne-like, melodically intense Adagio that sets in with a warm cello
cantilena. The second movement's expressive middle section exudes a
fairy-tale-like atmosphere, similar to the one in the incidental music
that Suk would later compose for the play Raduz and Mahulena. The final movement begins with a march-like main theme that is alternated with
contrasting episodes, thus giving the general structural impression of a
rondo. (Pedro Obiera)
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