Czech Chamber Music Society • Talich Quartet

The Talich Quartet has been evolving as part of a prestigious line of musicians for more than fifty years, representing Czech musical art throughout the world. For several decades, the Talich Quartet has been recognized internationally as one of the worldʼs finest string quartets, and as the embodiment of the great Czech musical tradition. The Quartet was founded in 1964 by Jan Talich Sr., during his studies at the Prague Conservatory, and named in honour of his uncle Václav Talich, the renowned chief conductor of the Czech Philharmonic Orchestra between the years 1919 and 1939. During the 1990s, there was a gradual and complete change in personnel, rejuvenating the Quartet while continuing the tradition of its predecessors through involvement in a wide spectrum of musical engagements and recording activities. Jan Talich Jr., the current first violinist, is the son of the Quartet’s founder.

The Talich Quartet is regularly invited to prestigious chamber music festivals such as the Pablo Casals Festival in Prades, Prague Spring Music Festival, Europalia Festival, Printemps des Arts in Monte Carlo, Tibor Varga Festival of Music, and the International String Quartet Festival in Ottawa; first appearances in last years included Malta Arts Festival and Kuhmo Chamber Music Festival, Finland. The Talich Quartet frequently visits such venues as New York’s Carnegie Hall, le Théâtre des Champs-Elysées and Salle Gaveau in Paris, London’s Wigmore Hall and Het Concertgebouw in Amsterdam.

The Talich Quartet’s recordings of the complete string quartets by Felix Mendelssohn Bartholdy, released on the Calliope label between 2001 and 2004, have been widely praised. Other recordings include Dvořák’s “American” quartet and viola quintet (2003), Smetana’s two string quartets (2003), and a live recording of Schubert’s Death and the Maiden and Dvořák‘s Quintet (2004). The Quartet’s Janáček recording was honoured by the Gramophone with a nomination for the best chamber recording of 2006—the only recording by a string quartet to be selected.

In May 2015 the BBC Music Magazine gave the Talich Quartet 5 stars for their latest CD, Dvořák: String Quartets No. 10 &11, and in 2014 Forbes magazine listed Talich’s recording of Janáček’s and Schulhoff’s String Quartets as second best classical recording (reissues) of 2014. Recent recordings include works by Smetana, Dvořák, Janáček, Kalivoda, Fibich, Schulhoff, Schubert, Brahms, Debussy, Ravel and Shostakovich, and a new CD with music by Antonín Dvořák (String Quartet “American”, Waltzes).

Lawrence Dutton, violist of the nine-time Grammy winning Emerson String Quartet, has collaborated with many of the world’s great performing artists, including Isaac Stern, Mstislav Rostropovich, Sir Paul McCartney, Renée Fleming, Rudolf Firkušný, among others. He has also performed as guest artist with numerous chamber music ensembles such as the Juilliard and Guarneri Quartets, the Beaux Arts Trio and the Kalichstein-Laredo-Robinson Trio. Since 2001, Mr. Dutton has been the Artistic Advisor of the Hoch Chamber Music Series, presenting three concerts at Concordia College in Bronxville, NY. He has been featured on three albums with the Grammy winning jazz bassist John Patitucci on the Concord Jazz label and with the Beaux Arts Trio recorded the Shostakovich Piano Quintet, Op. 57, and the Fauré G minor Piano Quartet, Op. 45, on the Philips label. His Aspen Music Festival recording with Jan DeGaetani for Bridge records was nominated for a Grammy award. 

Mr. Dutton has appeared as soloist with many American and European orchestras including those of Germany, Belgium, New York or New Jersey, and as guest artist at the music festivals of Aspen, Santa Fe, La Jolla, the Great Lakes Festival, the Great Mountains Festival in Korea or the Rome Chamber Music Festival. With the late Isaac Stern he had collaborated in the International Chamber Music Encounters both at Carnegie Hall and in Jerusalem. 

Currently a “Distinguished Professor” of Viola and Chamber Music at Stony Brook University and a “Distinguished Artist” at the Robert McDuffie School for Strings at Mercer University in Georgia, Mr. Dutton began violin studies with Margaret Pardee and on viola with Francis Tursi at the Eastman School. He earned his Bachelors and Masters degrees at the Juilliard School, where he studied with Lillian Fuchs and has received Honorary Doctorates from Middlebury College in Vermont, The College of Wooster in Ohio, Bard College in New York, The Hartt School of Music in Connecticut and most recently from Juilliard School.

In 2015 Mr. Dutton and the other members of the Emerson Quartet were presented the Richard J. Bogomolny National Service Award from Chamber Music America and were recipients of the Avery Fisher Award in 2004. They were also inducted into the American Classical Music Hall of Fame in 2010.

Mr. Dutton exclusively uses Thomastik Spirocore strings and plays Samuel Zygmuntowiczʼs 2003 instrument.

String Quartet No. 1 in E minor, subtitled “From My Life”, was composed by Bedřich Smetana at the end of 1876, two years after he lost his hearing. As the subtitle of the work suggests, it has autobiographical features and is considered to be the composer’s confession of a lifetime and artistic statement. Smetana’s Piano Trio in G minor, Op. 15 from 1855, composed after the death of his first-born daughter Bedřiška, also had an intimate subtext. Smetana was inherently a programmatic composer and dramatist, and these qualities gave shape to his first string quartet. It was to be premiered on 19 February 1877 by the Bennewitz Quartet. However, its members found the piece too symphonic and refused to perform it. The public premiere took place as late as 29 March 1879 at a concert of the Art Society, performed by Ferdinand Lachner, Jan Pelikán, Josef Kerhan and Alois Neruda. Before that, however, the composer’s friend Josef Srb-Debrnov, who organized musical afternoons in his apartment, presented Smetana’s quartet to a closer circle of listeners in mid-April 1878. Smetana wrote to Srb on that occasion: “As regards my Quartet, I gladly leave others to judge its style, and I shall not be in the least angry if this style does not find favor or is considered contrary to what was hitherto regarded as quartet style. I did not intend to write a quartet according to recipe or custom in the usual forms. As a young beginner I worked sufficiently hard to acquire thorough knowledge and mastery of musical theory. [...] For me the form of every composition is dictated by the subject itself.” The established forms served Smetana as a starting point and he transformed their laws to suit his needs.

The work is indisputably autobiographical, and the composer himself made it known. The first movement expresses his youthful leanings toward art, a romantic atmosphere and “the inexpressible yearning for something I could neither express nor define, and also a kind of warning of my future misfortune.” The polka of the second movement is a reminiscence of the joyful days of Smetana’s youth; its middle section, he writes, is “the one which, in the opinion of the gentlemen who play this quartet, is unperformable. The purity of the chords is said to be impossible to achieve; I remind myself that I am painting in the tones of this movement my recollections of the aristocratic circles in which I lived for many years.” The third movement “brings to mind the happiness of my first love for the girl who later on became my faithful wife,” i.e., for Kateřina Kolářová. In the final movement, Smetana describes “discovery of how to make use of the elements of national music, joy at the success of this course up to the time it was interrupted by the catastrophe of the onset of my deafness,” as announced by a piercing high E fatefully ringing in his ears. “Roughly this is the aim of this composition, an almost private one, and therefore purposely written for four instruments which talk to each other in an intimate circle of friends of what has so momentously affected me.” 

Sergei Ivanovich Taneyev was born into a family with an artistic background; his father, a clerk, had many friends among musicians and played the violin and piano himself. At the age of ten, he was admitted to the Moscow Conservatory, where his teachers included Nikolai Rubinstein and Pyotr Ilyich Tchaikovsky. In 1895 the young Bohemian Quartet, founded in 1892 at the Prague Conservatory, made its first trip to Russia. “We played all over European parts of Russia,” recalled Karel Hoffmann, the ensemble’s first violin, half a century later. He also mentioned the violinist Jan Hřímalý, who taught at the Moscow Conservatory. Sergei Taneyev, who was a professor at the Moscow Conservatory, dedicated his String Quartet No. 2 in C major, Op. 5, composed in the year of the Bohemian Quartet’s Russian tour, to him. The ensemble had Taneyev’s String Quartet No. 1 in B minor, Op. 4 in its repertoire at that time, and Hřímalý introduced the members of the Bohemian Quartet to him. Taneyev, who was also an acclaimed pianist, visited Prague several times and performed with the members of the Bohemian Quartet on several occasions at concerts of the Czech Chamber Society, as well as in Vienna, Berlin, Leipzig and elsewhere. Taneyev, out of his own interest, studied the works of Renaissance and Baroque composers and perfectly mastered the technique of counterpoint. After Taneyev’s visit to Prague in 1909, the journal Dalibor called him “Max Reger of Russia … but it is not just the automatic mechanism of mathematical counterpoint, as can be found almost exclusively with Reger, but also the power of expression, richness of thought, warmth and color.” This characteristics is also evidenced by the composition to be heard tonight with its extensive fugue of the final movement.

String Quintet in E flat major, Op. 97 came into being between 26 June and 1 August 1893 in the United States as a kind of relaxation after the completion of Symphony in E minor, Op. 95, “From the New World” immediately followed by String Quartet in F major, Op. 96. Dvořák spent the summer of 1893 in the township of Spillville (Iowa), inhabited by a large group of Czech compatriots who reminded him of his homeland. At that time, the township hosted a group of the Iroquois, and the echo of their drumming and dancing can be heard especially in the rhythmic accompaniment of the second movement of the quintet. The composition was premiered at a Dvořák Night in New York on 12 January 1894 by the Kneisel Quartet, which included members of the Boston Symphony Orchestra. “I have heard them several times and I can say that they can compete with the best quartets in Europe,” Dvořák wrote to his friend Antonín Rus in Písek in December 1893. All the members of the ensemble were from Europe: the first violinist Franz Kneisel was born in Bucharest; the violist Louis Svećenski in Osijek, Croatia; the second violinist Otto Roth was from Austria; and the cellist Alwin Schroeder from Germany; the second viola part was played by Max Zach, originally from Galicia. The Czech premiere of String Quintet in E flat major took place the same year, on 10 October 1894 in Prague, performed by the Bohemian Quartet with Ferdinand Lachner.

The impressiveness of the work lies primarily in its rhythmic component, but Dvořák also embellishes the harmony with new combinations, and in contrast to his earlier period he often presents the melody in a simple form as a separate voice. In the first movement, in sonata form, he works with three themes; in the Scherzo, with its contrasting middle section, our attention is caught by the above-mentioned “drum rhythm”. The theme of the third variation movement was originally intended as a basis for the new American anthem, but it never came to fruition. The exuberant final rondo with its effective coda fully balances the dreamy sections of the preceding movements.