Antonín Dvořák (1841-1904)
Complete Works for Violin and Piano
Jiří Vodička (violin), David Mareček (piano)
rec. 2023, Dvořák Hall, Rudolfinum, Prague, Czechia
Supraphon SU 4340-2 [2 CDs: 102]

A gifted schoolboy, Dvořák was introduced to several instruments, becoming skilled on the violin which he played at village dances. From age twelve he was also instructed in piano and organ that he played in local church services. Upon his move to Prague, aged sixteen, Dvořák joined the ranks of the Cecilian Association Orchestra and the Bohemian Provisional Theatre Orchestra playing the viola or violin in concerts. Being proficient on both violin and piano, Dvořák naturally wrote enthusiastically for that combination of instruments. On this album, Jiří Vodička and David Mareček play all nine of Dvořák’s compositions for, plus an arrangement for duo of the Humoresque No. 7 for solo piano by Fritz Kreisler. 

The three lengthiest works here are contained on the first CD, beginning with the Violin Sonata in F major, Op. 57, B 106. In three contrasting movements, it was written in 1880 around the time of Dvořák’s celebrated Violin Concerto, Op 53. The writing is lyrical and handsome, providing a masterly synergy between violin and piano, and presenting a real challenge to performers. Surprisingly, it is seldom performed, and Vodička and Mareček view it as a real discovery which ‘contains intimate lyricism, spiritual depth, and the elemental rhythm of the dance’ Vodička and Mareček excel especially in the opening movement marked Allegro ma non troppo which is just bursting with Slavic folk melodies. 

From 1887 the four Romantic Pieces, Op. 75, B 150 originated as a Terzetto in C major for two violins and viola, Op. 74 (B. 148). The same year Dvořák undertook this revision for violin and piano. Each of these four contrasting Romances has a subtitle. Vodička and Mareček revel in the first Romance an Allegro moderato – Cavatina of an intense, yearning quality. The second piece, Allegro maestoso – Capriccio is dance-like and rhythmic and played with boisterous energy. The Romanza is marked Allegro appassionato and the players are sensitive to the moods, shifting between optimism and reflection. The character of the glorious fourth piece Larghetto – Elegia is serious and introspective, tinged with melancholy.

Whilst living and working in America, Dvořák was teaching at the National Conservatory, New York and in 1893 he wrote the Sonatina for violin and piano in G major, Op. 100. Aware that it was his hundredth official score, he gave it the dedication ‘to my little children’ as Otilie (age fifteen) and Antonín Jn. (age ten) were learning the piano and violin respectively.

Intended to suit the capabilities of the children, it is not too difficult technically, yet it remains a captivating work. Dvorák wrote ‘grown-up adults should also be able to take enjoyment in these pieces.’ Each of the four movements has a tempo indication and is not assigned a specific title. Marked Allegro risoluto, the first movement has spirit, although at times one senses a curious sense of reserve; it is followed by the Larghetto, which is characterised by an aching sadness. The Scherzo is highly engaging and imbued with the spirit of dance. The Finale – Allegro is performed with an uncommon ebullience. Amongst the folk themes, I hear suggestions of African-American spirituals. For those who admire the Sonatina I must mention the stunning live 1992 recording played by two legendary musicians Josef Suk (violin) and Rudolf Firkušný (piano) (review). As here the concert was from the Dvořák Hall, Rudolfinum and on Supraphon too.

Dvořák wrote a range of works, from grand operas such as Dimitrij and Vanda, the substantial oratorio Saint Ludmila and dramatic cantata The Spectre’s Bride down to small-scale piano pieces such as Mazurkas and Humoresques. Here, the second CD comprises seven, single-movement, mainly shorter pieces for violin and piano, beginning with the Capriccio in C major, B 81 a concert rondo that Dvořák wrote around 1878. Unfortunately, the autograph manuscript went missing. Having tracked down a manuscript copy, Dvořák revised the work in 1892 and that is the version played here. A concert showpiece, the Capriccio has to my ears the distinct character of vivacious, traditional gypsy music together with a contrasting central section of calm. Vodička has spoken of the Capriccio as being ‘very technically difficult.’ This performance has a spontaneous, robust feeling to it that serves the music well. Not generally considered one of the composer’s finest works, the Capriccio nonetheless certainly has appeal.

In 1873, Dvořák completed his String Quartet No. 5 in F minor, Op. 9, B 37. The Bennewitz Quartet gave the first performances of the work but later refused to keep it in their concert programmes, much to the composer’s annoyance. He subsequently reworked a portion of the second movement, Andante con moto quasi allegretto, as the basis of his Romance for violin and orchestra, Op. 11, B 39. In addition, Dvořák wrote this version of the Romance for violin and piano in F minor, Op. 11, B 38 that he dedicated to his compatriot the violin virtuoso František Ondříček. In the hands of Vodička and Mareček, this much-admired Romance is a real highlight of CD 2. The duo underlines the beautiful, glowing main melody and provides an ardent seriousness and intensity.

The Ballade in D minor, Op. 15/1, B 139 written in 1884, was a commission from John W. Coates who wanted some small-scale works for his London publication The Magazine of Music. Like many of Dvořák’s works the Ballade is mainly reflective, and Vodička and Mareček reveal a slightly dark and ominous undertow.

There is a rather protracted history to the Nocturne in B major, Op. 40, B 48a. The Nocturne originated from the Andante religioso movement of Dvořák’s String Quartet No. 4 in E minor dated 1870. Next, the movement was then integrated into his String Quintet in G major and finally in 1883 Dvořák reworked the music as his Nocturne in B major. He created three versions of the Nocturne the first for String Orchestra, B 47, the second for Piano, Four Hands, B 48b and the third for Violin and Piano B. 48a, the version played here. It is a lyrical work of sombre character which the duo imbues with an intriguing sense of mystery.

Hugely successful for Brahms, his twenty-one Hungarian Dances written in 1858/79 struck a chord with music lovers and were extremely profitable for publishers. Arrangements of them made for various instruments, not all authorised, increased their popularity; in fact, Dvořák orchestrated the last five of the set. Finding inspiration in Brahms’ Hungarian Dances, Dvořák similarly wrote two sets of eight Slavonic Dances using influences of Czech folk dance music and his own themes. they were originally written for four-hand piano, Op. 46 (1878) and Op. 72 (1886-87). At the behest of his publisher, Dvořák swiftly orchestrated both sets. Without question, the Slavonic Dances greatly helped to elevate Dvořák’s status worldwide. Played here from the first set is the famous Slavonic Dance No. 2 ‘Dumka’ in the composer’s own arrangement for violin and piano in E minor, Op. 46/2, B 170. It is written in the manner of a Ukrainian dumka; Vodička and Mareček adeptly contrast its untroubled lyrical appeal with red-blooded surges of exuberance.

In 1894, Dvořák wrote his Humoresques a piano cycle consisting of eight pieces, Op. 101, B 187. With no specific theme, Dvořák used a range of moods and influences including material from his sketch books. Especially popular was the Humoresque No. 7 for solo piano in G flat major, Op. 101/7, B 187. Various arrangements were made by others, including the one played here for violin and piano by violin virtuoso Fritz Kreisler. It is a short piece with appealing melodies, and the focused playing by the duo here astutely reveals an undercurrent of melancholy.

Following the great success of his Slavonic Dances, in 1879 Dvořák provided his publisher with an E minor Mazurek in versions for both violin and orchestra, B 90 and for violin and piano, B 89. There is a straightforward form to this stirring Mazurek, having two differing and repeated themes, one rhythmic and one melodic. It is a showpiece and was dedicated to virtuoso violinist Pablo de Sarasate; Vodička and Mareček respond by playing it brilliantly.

Our two soloists Jiří Vodička and David Mareček play this all-Dvořák programme admirably from start to finish. Vodička is a concertmaster in the Czech Philharmonic, a virtuoso soloist and a keen chamber music player. He plays a Joseph Gagliano violin (Naples 1774). Mareček is CEO of the Czech Philharmonic and as a chamber music pianist, he has performed with several renowned soloists. The piano he plays is a Steinway Model D concert grand. I am glad to report that on this recording both instruments produce gratifying tone quality. 

This programme was recorded under studio conditions at the Dvořák Hall in the Rudolfinum at Prague. This is the same hall where in 1896 Dvořák conducted the first concert of the Czech Philharmonic in a programme of his own works. The engineering team provide excellent sound that has clarity and is well-balanced. In the booklet, there is a helpful essay by author Jan Kachlik, a valuable part of this splendidly presented Supraphon album. 

With these works for violin and piano, Dvořák displays his passion for the traditional folk melodies of his native Bohemia, neighbouring Moravia and more generally Slavic lands. Several diverse folk themes derive from the composer’s American adventure. These fresh and spirited performances from Vodička and Mareček bring this collection of Dvořák works to life. Released on Supraphon this praiseworthy album will surely be one of my Records of the Year.

Michael Cookson

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Contents:
CD 1
Sonata for violin & piano in F major, Op. 57, B 106.
Four Romantic Pieces for violin & piano, Op. 75, B 150.
Sonatina for violin & piano in G major, Op. 100, B 100.
CD 2
Capriccio for violin & piano, B 81.
Romance for violin & piano in F minor, Op. 11, B 38.
Ballade for violin & piano in D minor, Op. 15/1, B 139.
Nocturne for violin & piano in B major, Op. 40, B 48a.
Slavonic Dance No. 2 for violin & piano in E minor (Set one of two), Op. 46/2, B 170.
Humoresque No. 7 for solo piano in G flat major, Op. 101/7, B 187. (arr. for violin & piano by Fritz Kreisler)
Mazurek in E minor, Op. 49, B 89.