String Quartet No. 12 (Dvořák)

The Quartet in F Major for Two Violins, Viola and Cello, Op 96, called the "American ", Antonín Dvořák wrote between 8 and 25 June 1893 in Spillville in the USA. In the silence of the local rural nature, which stood in stark contrast to the previous experiences of the chaotic operation of the American city, testifies to this string quartet by Dvorak's impressions of a special intimacy and at the same time extraordinary boldness and brilliance of color.

With the Symphony No. 9, Op 95 " From the New World ", which Dvořák had completed in May 1893 in New York, the quartet combines "American" Impact of thoughts ( pentatonic, diminished 7th stage in the minor scale, dotted and syncopated rhythm, etc. ) and the very clear, plastic and relatively simple formal arrangement.

The work was premiered on January 1, 1894 in Boston by the Kneisl Quartet ( Frank Kneisl, Otto Roth, Louis Svěcenski, Alwin Schroeder ).

Published by Simrock it is in Berlin in 1894.

A performance of the work lasts about 25 minutes.

Genesis

The quartet wrote Dvořák, as well as the Quintet in E flat major, Op 97, 1893 during his summer stay in the small community of Spillville in the Midwestern U.S. state of Iowa. In his role as director of the New York National Conservatory, he was invited by the predominantly Czech-born residents to spend the summer in the circle of his countrymen.

The transcript of the sketch was from 8 to June 10, 1893 under the last system of the sketch noted Dvořák:. Thank God. I'm pleased. It's gone quickly. The score of the first set was from 12 to 15, the second from 15 to 17, the third to the 20th and the fourth on 20 to 25 June 1893.

Record descriptions

1st movement: Allegro ma non troppo

F Major, 4/4-time

The most important function in the first sentence, the loosely tied main theme, which comes with its rhythmic diversity in the set of motivic work to advantage. It is initially presented by the viola solo, accompanied only by tremolo chords in the two violins and a sustained F in the cello. Then it is repeated by the violins. The subsequent transition episode, which is developed from the motivic final element of the theme, directs towards the again sounding main theme, which this time in the key of the secondary theme, in A minor, modulated. This two-part new topic is characterized by the diminished 7th level, as well as a pedal point in the viola and hard, empty Quint pizzicato in the cello. The basic term of the sentence gets at this point somewhat in motion, but calmed down again to end in the melodic closing theme. The implementation adjoins the repeated exposure, which mainly processes the main theme. At the end of the development section ensues a held on a small scale canon, whose energetic theme in the second subject has its origin. The recapitulation is introduced by an ostinato repeated fragment of the main theme, in addition heard in the cello a new melodic variant of the final topic. The completion of the sentence begins calmly and seriously, but then it leads to a dialogue between two topics sections of the main theme and ends in a very energetic conclusion.

2nd movement: Lento

D minor, 6/8-measure

The very intimate second movement is almost entirely supported by a uniform on and falling accompanying figure. Above her a quiet 8 -bar period, which also forms the thematic core of the theorem developed. First, it is recited by the violins, followed by the cello. Later in the first violin a value based on the last bar a couple of the main idea song that becomes even more dramatic by the initial counter melody in the second violin developed. But then both voices unite to form a duet, which determines the entire central part of the sentence. It unfolds into a variation of the main theme and enhances its expression to infinite longing, coupled with a large, deep inner feeling of happiness. Finally, the main theme is heard one last time in the cello, accompanied by pizzicato measured the remaining instruments. The viola, which accompanies the last part of the cello phrase with a tremolo, decides to set up a semitone out.

3rd movement: Molto vivace

F Major, 3/4-time

Even this short and simple Bagatelle is again developed from a single subject out. It is characterized by a lively, rhythmically tight antecedent and a quiet swaying trailer. Born in Spillville violinist Josef January Kovařík, who lived with him during Dvořák's stay in America, reports that the composer stated during a rehearsal of the quartet, having heard the melody for a stroll in the area of Spillville by a bird. After ababa scheme, two distinctly different paragraphs alternate variation in moderate amendment from each other. The first section is characterized by diverse grouping of rhythmic elements of the theme, in particular the straight bars. In the second section, which is in F minor, augmented by running the antecedent of the theme as cantus firmus unchanged all voices and is thereby alternately garnished by a two-fold contrapuntal counter melody.

4th movement: Finale: Vivace ma non troppo

F Major, 2/4-cycle

The final Rondo is held in the very simple form ABACABA and is almost completely permeated by a distinctive rhythm. First, it is chordal presented by second violin and viola, accompanied by pizzicato in the cello. Then the first violin prepares the cumbersome and lengthy rhythmic embellishment before the actual subject entry in bar 33. The 16taktige topic concludes with rhythmically hard hitting in A minor ( with the return in C major ). Suddenly there is a change to A-flat major, which is not prepared by a modulation. About the continuous rhythm of the main theme spreads in the violins, the second issue, some in thirds and sixths, from. After repeated sounding of the main topic of the sentence is modulated by D-flat major. In calm tempo develops pianissimo a short chorale-like imitation. After the violins, the cello repeats the theme, accompanied by figurations have the rhythmic references to the main subject. At this little interlude, a repetition of the first three parts, in which a tonal shift to D flat major expands the harmonic term possibility of topics includes. The movement ends in cocky quotes the main theme.