25 September 2019
Sounds from Bohemia: exploring the Bohemian Quartet’s recordings of Dvorak and Smetana
Guest blog by Edison Fellow Rosalind Ventris, a concert violist and teacher of viola and chamber music at the Royal Irish Academy of Music
Listen to these two examples of the opening of Smetana’s String Quartet No.1 in E minor ‘From my life’. First, the Bohemian Quartet recorded in 1928
and now the Pavel Haas Quartet
Here we have two interpretations by Czech quartets separated by almost ninety years, each passionate and invigorating, but how different they sound!
I first became aware of the Bohemian Quartet (or Ceské Kvarteto) in a fascinating talk Robert Philip gave at the IMS Prussia Cove Open Chamber Music in 2013, in which he played their recording of Dvořák’s American Quartet. This initial encounter made a strong impression on me and I have since spent time at the British Library as an Edison Fellow delving into the Sound Archive's collection of early recordings of Czech quartets playing Czech repertoire. The Bohemian Quartet’s recordings are especially revealing, and exemplify an approach to expressivity and ensemble that differs markedly to some performance styles today. In particular, their use of variation in bow technique, portamento, vibrato, tempo and rhythm all stand out as noteworthy. Perhaps surprisingly, performance practice of nineteenth- and early-twentieth-century Czech music has received less scholarly attention than other national schools, and the work that has been done in this field is not often reflected in performance today.
A particular interest in Dvořák led to my proposing his lesser-known quartets for a recording cycle with my former string quartet (the Albion) for Signum Classics. One of the CDs also features Josef Suk’s short Meditation on the Old Czech Hymn 'St Wenceslas' for String Quartet, Op. 35a. Two discs coincided with initial visits to the British Library. The Edison Fellowship has since provided a valuable opportunity to dig deeper into questions that arose when listening to the Bohemian Quartet and recording Czech string quartets.
Experts in historical recording are united in their praise of the Bohemian Quartet, and particular for their achievement of a genuine equality across the four players. Chamber music specialist Tully Potter describes them as ‘by common consent, the first great modern chamber ensemble’ (liner notes to The Czech Quartet Tradition, Biddulph), and Robert Philip calls them ‘the string quartet acknowledged as the first modern “ensemble of equals”’ (Robert Philip Performing Music in the Age of Recording, 21). Celebrated violin pedagogue Carl Flesch first encountered the Bohemians in 1894, writing in his Memoirs:
Hitherto, one had been accustomed to see in quartet ensembles chiefly a foil for the dominating leader, as was the case above all in the Joachim Quartet... here for the first time one heard ensemble playing by four congenial individualities who were on the same technical level. (Philip Performing Music in the Age of Recording, 122-123)
Their career spanned forty years of chamber music making from the early 1890s to the 1930s, with few changes of membership in that time. By the time the ensemble reached its tenth birthday they had already performed a thousand concerts, and they kept up this pace for most of the quartet’s existence. They toured extensively throughout Europe and collaborated with the likes of clarinetist Richard Mühlfeld (1906), violist Lionel Tertis (1906 and 1929) and many other illustrious musicians. Great composers such as Elgar and Janáček were among their many admirers. On hearing them rehearse his String Quartet Elgar exclaimed, ‘The reason I have lived so long is so as to experience your performance’ (Tully Potter, unpublished chapter). Czech composer Janáček was similarly enthralled by their playing, writing to his muse Kamila Stösslová, ‘I’ve not yet heard anything so magnificent as the way the Bohemian Quartet played my work’ (Tully Potter unpublished chapter). When Czechoslovakia came in to being in 1918 the group changed their name to the ‘Czech Quartet’, although in practice the name ‘Bohemian’ stuck.
The quartet’s members knew Antonín Dvořák (1841-1904) personally and were closely associated with the music of Bedřich Smetana (1824-1884). When the violinist Antonín Bennewitz (1833-1926) became Director of the Prague Conservatory in 1882 he, alongside the cello professor Hanuš Wihan (1855-1920), began encouraging more chamber music at the institution. In 1891, at Wihan’s suggestion, the Bohemian Quartet was formed. The original membership consisted of violinists Karel Hoffmann (1872-1936), Josef Suk (1874-1935), violist Oskar Nedbal (1875-1930) and cellist Otakar Berger (1873-1897). The upper three were pupils of Bennewitz, and Berger studied with Wihan. After Berger’s illness and early death he was subsequently replaced by Wihan, who then became the group’s cellist for the bulk of their career.
The quartet’s teachers were also closely connected to Dvořák and Smetana. Both professors worked alongside Dvořák at the Prague Conservatory (Dvořák later succeeded Bennewitz as Director). Bennewitz gave the public premiere of Quartet No.7 Op.16 in A minor (29th December 1878, Prague). Wihan premiered the ‘Dumky’ Trio with the composer himself at the piano, and was the dedicatee of Dvořák’s B minor Cello Concerto, the arrangement of Silent Woods for cello and piano, and the Rondo in G minor. The Bohemian Quartet’s original members also all had close personal relationships with Dvořák. Three of the group’s founders: Suk, Nedbal and Berger were also Dvořák’s composition students, and Suk was also his son-in-law. The quartet gave the world premiere of Dvořák’s G major quartet Op.106 (9th October 1896), having given the first Prague performance of the A flat Quartet Op.105 earlier in that year on 21st January.
Bennewitz premiered Smetana’s Trio in G minor, and was a founder of the Kammermusikverein in 1876, a chamber music society whose nationalist principles spurred Smetana to write his first string quartet later that year. In the British Library Archive there is a very interesting radio programme from 1995 (H5456/2) by Duncan Druce on ‘From my life’, in which he talks of the initial resistance to this piece in some quarters. The Bohemians, however, made it their own: they first performed it in 1892, and so it was part of their repertoire from the beginning. Nedbal’s delivery of the opening viola solo— turning round to face the audience and playing it from memory— was much commented on by many illustrious witnesses, such as Sir Arnold Bax and Eric Coates.
By the time the Bohemians made their recordings in the 1920s, Hoffmann and Suk were still in the group, but in rather acrimonious circumstances in 1913 Wihan had been replaced by the younger Ladislav Zelenka (1881-1957) and Nedbal by Jiří Herold (1875-1934). (Happily, though, the British Library also has a couple of short recordings of Oskar Nedbal. Nedbal’s departure caused a scandal as he ran off ran off with first violinist Karel Hoffmann's wife in 1906!)
Given its members’ personal connections to Dvořák, the Bohemian Quartet’s recordings should clearly be a starting point for anyone interested in performance practices for this repertoire. With their pedigree it is perhaps particularly striking that the expressive devices that this group used—with one foot still firmly rooted in the nineteenth century—have largely been overlooked, especially when we think of the interest in period performance and the rise of this with regard to the music of nineteenth-century composers. Dvořák seems to have been particularly neglected. As Martin Jemelka has commented in a recent article (‘Antonin Dvořák’s Music made on period instruments’ Czech Music, 2012), only a small handful of chamber music discs of this repertoire touch on historically informed stylistic awareness.
Although the Bohemian Quartet’s recordings date from the 1920s, they clearly embody a fundamentally nineteenth-century performance style. They played on gut strings throughout their careers, there is considerable flexibility in their approach to tempo and use of rubato (they are far from metronomic), ensemble is less tight, rhythms are more gestural than exact, and obviously portamento is much more audibly prevalent than vibrato. There are some lapses of intonation in these recordings, which perhaps should be put down to the players’ advancing years. Since vibrato and portamento have been discussed in studies of historical recordings elsewhere, albeit not greatly in relation to this repertoire, I would like to draw attention here to some different features—those involving the players’ use of the bow.
In a sense it is surprising that the bow has received so little attention, since any string player would agree with Louis Spohr’s proclamation that the bow is the ‘soul of playing’ (Milsom Theory and Practice in late 19th-century violin performance, 34). Robert Philip provides some clarity as to the Bohemian Quartet’s general style, and comments that the
old ‘German’ way of playing extended far beyond Joachim’s direct influence. Different versions of it can be heard in recordings of the Rosé, Bohemian, Capet and the original Budapest Quartet. . . . The so-called German school was therefore not just a narrow group associated with Joachim, but a wider culture of violin playing, which, for a time, resisted the trend towards more powerful and assertive styles. Its preference for a broad style of bowing, and little vibrato, was a continuation of early nineteenth century practice. (Philip Performing Music in the Age of Recording 192-3)
Earlier Philip describes the old German grip 'with the low elbow, the fingers are close together, and roughly at right-angles to the bow.'
Articulation markings seem to carry implications for bowing that are not exemplified in performances of this repertoire today. Where staccato dots are marked, the stroke is much more varied and often on the string (which is to say that the bow is not lifted off the string at the end of the note, as would be more common in modern performance). Moreover, any figure marked with a dot at the end is sometimes stopped rather than lifted. There are many examples of this in the Bohemian recordings, such as in the second movement Polka from Smetana’s Quartet No.1.
In the score all the un-slurred notes are marked staccato. In this clip these are definitely more on the string before loosening up at the very end of the recording in bar 11.
We can compare the Bohemians with another contemporaneous version available in the British Library, which is similar in its approach to articulation.
This recording is by a slightly younger Czech group—the Ševčík-Lhotský Quartet—which was made just a year after the Bohemian Quartet’s own. Again we hear the more on-the-string style that we encountered with the Bohemians. In the Ševčík-Lhotský’s rendition occasionally the bow will be thrown as an effect (e.g. violin 1 second movement bar 11), whereas the Bohemians were a little more controlled here.
Similarly, in the opening of the ‘American’ quartet of Dvořák both Hoffmann and Herold from the Bohemians prefer a more ‘on-the-string’ approach.
This prevalence for more on-the-string strokes might in part be a result of the old ‘German’ style of bow-hold described above, lending itself more to these kinds of on the string strokes. Clive Brown (in Classical and Romantic Performing Practice 1750-1900) and David Milsom (in Theory and practice in late nineteenth-century violin performance) have also both commented that in the nineteenth-century German school the upper-half of the bow was used more frequently for off-the-string strokes.
It is also noticeable that the Bohemians are not always consistent with their strokes: they sometimes vary articulation on a repeated passage on a second hearing. Often this is clearly for musical variety, but there are also examples where differences in articulation could be down to age. This is illustrated in the accompaniment in the first movement in this passage in the Dvořák ‘American' Quartet.
Clearly Hoffman’s bow control is not the same—or perhaps this could also be put down to different priorities. If you listen again to the very start of the movement in the previous extract you can audibly hear Hoffmann put the bow to the string and the sound is slightly shaky.
It is worth pointing out that the Bohemian’s articulation and right-hand choices often link to emphasising rhythmic shapes and gestures. For instance, double-dotting is apparent in the extracts above in the first movement of the Dvořák ‘American’ and the Smetana ‘From my life’ opening. In the Smetana Polka we heard earlier the ‘quasi Tromba’ theme is double-dotted in the viola and violin, and is particularly striking when it reaches the first violin in terms of rhythmic gesture: the first two quavers of the bar are marked slurred with a dot under the second, and Hoffmann and Herold play with the beat-placement here to make the rhythm particularly dance-like.
Hear the opening of third movement of the Dvořák ‘American’ for the same effect
In fact, wherever there are a couple of repeated rhythmic values together they are often played with a lengthening of the first of the group. One good example is the evocative harmonic turning point in the first movement of the Dvořák ‘American’
Often this rhythmic flexibility will be led by the first violinist, and there are many examples of this throughout the recordings. For me, the Bohemian Quartet’s rendition of the second movement of the Dvořák ‘American’ offers a masterclass in rhythmic flexibility.
In line with nineteenth-century practice the group significantly slows down into more restful passages of music and then rushes through more excited bits: listen again to the opening of the polka extract from the Smetana ‘From my life’ second movement above, and here again is a fuller version of the last extract to show how the group first pushes through, followed by an extreme winding down into the second theme.
Portamento is used by the players to emphasise the dissipating of energy in this passage—a device which is used with similarly effective results elsewhere.
The Ševčík-Lhotský Quartet also use rubato and portamenti in the manner of the Bohemians. As a final example, listen to this beautiful, swooping rendition of Osakar Nedbal’s Valse Triste played by the Ševčík-Lhotský Quartet recorded on 28th May 1929.
Although the Ševčík-Lhotský Quartet clearly had their own very different interpretations of Czech masterpieces, the fact that they also used similar expressive devices as the Bohemians bolsters the argument that these were fundamental to the character of this repertoire and not just the product of an unusual idiosyncratic ensemble.
This is just the tip of the iceberg. There are many ways in which the time spent with these recordings during this Fellowship has influenced my approach to this repertoire in my playing. I am looking forward to building on the work undertaken during my Fellowship with a Research trip next month to Prague, as a recipient of the Royal Irish Academy of Music’s Amplify Grant. This visit will then feed back into my chamber music teaching at the RIAM, to help the students develop a performer-oriented understanding of stylistic traits and broaden their expressive palettes.
I am very grateful to the British Library and to Jonathan Summers for his guidance throughout this Fellowship, and to Tully Potter for sharing his fascinating materials and insights into the world of the Bohemian Quartet with me.
During my fellowship I also wrote an article on Ševčík’s teaching for The Strad magazine.
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