Antonín Dvořák’s String Quartet No. 12, widely known as the American Quartet, stands as one of the most beloved chamber works of the late 19th century. Composed in the summer of 1893 during Dvořák’s stay in Spillville, Iowa — a small Czech immigrant community — the quartet captures a fascinating blend of homesickness, cultural curiosity, and the composer’s deep engagement with the musical landscape of the United States.
The work includes the sort of memorable tunes and exuberant rhythms that often characterize Dvořák music. Dvořák wrote the piece in just over two weeks shortly after completing his famed Symphony No. 9, subtitled “From the New World.”
Although Dvořák never claimed to quote specific Native American or African American melodies, he openly acknowledged that the spirit and character of these traditions influenced his thinking. The result is a work that feels both unmistakably like Dvořák and distinctly shaped by his American surroundings.
I. The first movement, marked Allegro ma non troppo, opens with a warm, open-hearted theme that immediately evokes spaciousness. Its folk music inflections contribute to the “American” flavor often associated with the piece. The movement unfolds with clarity and directness, avoiding heavy contrapuntal density in favor of melodic transparency — perhaps a reflection of the calm and simplicity he found in Spillville.
II. The second movement, Lento, is often considered the emotional core of the quartet. Its plaintive, hymn-like melody has a haunting stillness, as if shaped by the quiet of the Iowa countryside. The movement’s introspective quality suggests Dvořák’s longing for home, yet it also resonates with the depth he admired in African American spirituals. The music sustains a gentle dignity that feels timeless.
III. In the third movement, Molto vivace, Dvořák turns to lively rhythmic play. The scherzo’s syncopations and off-beat accents hint at folk dance, though again without direct quotation. A contrasting section offers a pastoral calm before the energetic opening returns.
IV. The finale, Vivace ma non troppo, ties the quartet together with a spirited, good-natured energy. Its themes are bright and agile, propelled by rhythmic vitality and a sense of forward motion. The movement’s exuberance feels like a joyful farewell, rounding out a work that balances nostalgia with discovery.
Dvořák’s American Quartet captures the composer’s feelings about the U.S. with openness and emotional honesty. As a result, the piece feels both marvelously intimate and expansive.
The Fresno Philharmonic's performance of String Quartet No. 12, in F Major, Op. 96 features:
- Concertmaster Stephanie Sant’Ambrogio, Violin 1
- Caitlin McSherry, Violin 2
- Sarah Coyl, Viola
- Isaac Pastor-Chermak, Cello
Program Notes © 2026 Paul Hyde
Paul Hyde, a longtime arts journalist, is an English instructor at Tri-County Technical College in South Carolina. He writes regularly for the Atlanta Journal-Constitution, the S.C. Daily Gazette, Classical Voice North America, ArtsATL and other publications. Readers may write to him at phyde@tctc.edu.