Carl Nielsen was regarded as bold, in the Irish meaning of the word; as a young man, his compositions were regarded by the conservative Copenhagen critics as a trifle bumptious and too avant-garde for their own good. By the time these quartets were written, Nielsen was 25 and 33 respectively and the critics were more understanding of Nielsen’s original way with writing.
Both quartets display that sense of architecture which make Nielsen’s symphonies such interesting listening, and those who love and only know his orchestral music may well find they become equally affectionate for his chamber music. Robert Simpson, whose writings on Nielsen are well worth seeking out, describes his music being made of “gestalts”, the repeating ideas in their individual forms.
The F minor quartet, his second but the first to be published, shares its genes with the first two symphonies. Nielsen travelled to Berlin with letters of introduction from Gade, and after five rehearsals performed the quartet for Joachim who, although impressed, suggested some changes as the overall conception was too radical for his tastes. Nielsen held his ground, fortunately for us; the very points Joachim suggested are the passages Nielsen and his audiences today find the most startling and interesting. Joachim bowed to the composer’s strong feelings, and subsequently after the first public performance in 1892 the Copenhagen critics gave the work a warm welcome. It’s a difficult piece to play; the harmonies are complex and the modulations numerous. It is very fine music well worth playing and hearing.
The E flat major quartet written in 1897-8 was partially lost; the last two movements were being taken to the copyist by Nielsen, handed to a boy to look after while he assisted with an accident, and were not seen again. Although the first two movements had been copied already, the last two had to be rewritten from memory and notes. Published in 1900, it is dedicated to Grieg, and was well reviewed by Hother Ploug, who understood what Nielsen was trying to achieve. The quartet progresses from its predecessor, and though the architecture is similar, there is more confidence in the writing, from the energy in the first movement, the folk-like tunes in the third, and an exultant finale.
Recorded in the Danish Radio Concert Hall in June and August 2007 this SACD was made in cooperation with the Danish Broadcasting Company, and The Young Danish Quartet plays very well. However, both the recording quality and standard of execution is better in Op.14 than in Op. 5. In both works, the Quartet gets a little too carried away with its enthusiasm and there are moments of inadequate tuning and harsh tone, partly caused perhaps by the recording. Op. 5 suffers from several bangs on the bridge in the first movement in particular which should perhaps have needed a retake. There are excellent notes about the genesis of both works by Knud Ketting. A fine achievement, then, warmly recommended with some caveats.
— Peter Joelson
