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But the score centres on the
Larghetto
inA flat minor. Here the composer sets aside
his life in America; this movement could be a tribute to Beethoven. The
Larghetto
is contemplative and dense, imagined in the form of an arch and expanded into
variations; its beauty stems from its austerity, which makes it very different from
all the other movements.
As one would expect, the finale is a wonderful recapitulation in which the
composer’s unfailing optimismprevails over obstacles past and present. Thus, with
great virtuosity, the
Allegro giusto
combines all themotifs that have so far appeared,
whether of Bohemian origin or inspired by Dvo ák’s encounters in Spillville, Iowa.
The choice of the string quintet is indicative of Dvo ák’s intention of giving this
score an almost symphonic dimension. Moreover, it calls for a fine sense of balance
on the part of the performers.
These two extraordinary works were followed by the last piece
Dvořák composed in America, the
Cello Concerto in B minor,
op.104
of 1895, in which he expressed his joy at leaving the
United States for his native land. The ‘exotic’ touches we find in
his op.96 and op.97 had by then largely disappeared.
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TALICH QUARTET