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Marc-André Hamelin and Takács Quartet release new album of Florence Price and Dvořák quintets
The celebrated Canadian pianist Marc-André Hamelin has teamed up once again with the acclaimed Takács Quartet for a new recording that pairs chamber works by Florence Price and Antonín Dvořák—two composers whose music, despite coming from different continents, shares a deep expressive kinship.
Released April 4 on Hyperion Records, the album features Price’s Piano Quintet in A minor and Dvořák’s Piano Quintet No. 2 in A major, Op. 81. The Takács Quartet and Hamelin, both favourites among chamber music audiences, are an ideal match for this repertoire.
The partnership began after the Takács Quartet transitioned from Decca to Hyperion. “It was their idea, actually—the Hyperion’s idea—to pair us and see what would happen,” Hamelin explained. “I couldn’t be happier with my relationship with them.”
Takács cellist András Fejér echoed the sentiment. “He makes our collaboration totally effortless,” he said of Hamelin. “Personally, I’m always overjoyed to learn from somebody of his type of knowledge and general attitude to music and the arts in general.”
The album’s pairing of Price and Dvořák might seem unconventional at first glance, but Hamelin and the quartet see it differently.
“It makes perfect sense,” said violist Richard O’Neil. “I think the soulful, tuneful, earnest nature—there are definitely parallels. The music cuts to the chase and speaks directly.”
O’Neil points to the “jubilant dance movements” in both quintets—Dvořák’s Furiant and Price’s Juba—as evidence of their shared spirit. “It captures basically a moment in history.”
Price’s Piano Quintet, a work that has only recently entered the standard repertoire, came to Hamelin through the quartet. “It was offered to me by the Quartet and Edward Dusinberre (violinist for the Takács Quartet) wrote to me one day: ‘Would you like to take part in the recording of that Florence Price?’ And I would have been an utter fool to say no,” said Hamelin.
The work was both published and accompanied by a manuscript copy, which helped the ensemble correct some discrepancies. “There is one bar in the first movement in which the music hadn’t been copied right, and it resulted in cacophony between instruments,” said Hamelin. “We were sure that wasn’t intentional, so we had to rectify the problem.”
For Fejér , discovering the quintet was a bit of a surprise. “At the very beginning, I really needed to count my beats—‘OK, I’m here, but actually, why am I coming here?’” he laughed. “But somehow during the rehearsals the whole thing mellowed into a very natural-sounding, wonderfully thought-out composition.”
Violist Richard O’Neil praised Price’s writing for giving each player something to savour. “She gives the viola a lot of stuff, a lot of tunes,” he said, joking that technically, “there’s some real challenges thrown at Ed and Marc-André—like really out of nowhere!”
The album’s other half, Dvořák’s second Piano Quintet, is one of the most beloved works in the chamber music canon. While Hamelin hasn’t played or heard Dvořák’s first piano quintet, he shared a story: “At one point he wanted to perform it with the quartet and somehow the score couldn’t be located. So he just wrote another one. And that’s the one that ended up being famous.”
O’Neil added that Dvořák’s early piano quartets and quintets still have plenty of charm, even if they’re less refined. “It’s fun. I’m glad we have the masterpiece of the second piano quintet because it probably is one of the greatest works in chamber music, period,” he said.
As for live performances of this new repertoire, there are no concrete touring plans yet, though Hamelin said, “I’m open.”
Hamelin describes his collaboration with the Takács as a perfect pairing. “I think that musically we fit without too much effort. Every time I think back about these sessions, I don't remember tremendous amounts of rehearsal. Some things seem to just solve themselves, and I think we all have retained our individuality, but it's just a really happy marriage on the whole. And I really couldn't be happier.”
The musical chemistry is undeniable on this recording. As always, Marc-André Hamelin tackles even the most demanding repertoire with fearless precision. His extraordinary command of the keyboard and impeccable musicianship, paired with the Takács Quartet’s superb ensemble playing, result in a recording that’s as compelling as it is rewarding to hear.
Dvořák’s Piano Quintet in A major, Op. 81, has been recorded many times—but this latest release just might set a new benchmark for this crown jewel of the chamber music repertoire.
Recordings of Florence Price’s Piano Quintet are still few and far between, but this performance significantly raises the bar, revealing the full richness and depth of Price’s musical voice. Hats off to the Takács Quartet and Marc-André Hamelin for delivering two stunning interpretations that deserve a place on every chamber music lover’s shelf.