Sorry about the delay in time from Part 2 to Part 3.  I shifted my usual
regimen when the Perahia Goldbergs hit the stores; I just could not seem
to help myself from getting off course.

Nielsen's String Quartet in E flat major, Opus 14 was completed in 1898,
eight years after the completion of his Opus 5 String Quartet in F minor.
I think it would be reasonable to expect a more forward-looking Nielsen
than in his Opus 5, and I was eagerly anticipating the pleasure of
listening to how the four versions handle the advance of time.

The first movement, Allegro con brio, is a blend of highly dramatic and
beautifully lyrical music.  Upon listening to the four versions a few
times, I was very impressed with each one.  They were all forward-looking
and impacted me strongly.  So, I kept listening some more, and finally, one
version started losing my interest - the Danish Quartet.  They just aren't
as incisive in the stronger passages as the other three versions, and their
poetry is also at a little lower level.  I have to rate the Oslo, Zapolski,
and Kontra Quartets about even.  The Oslo are best in the powerful
passages, Zapolski best in the lyrical ones, and the Kontra very good in
both.

The second movement, Andante sostenuto, is in ABA form.  It begins by
trying to find a key and settles into E flat major; this first section
is quite beautiful and dramatic, and each version is highly rewarding.
The central section, dominated by dotted rhythms, is where the versions
do show significant differences.  The Zapolski and Oslo Quartets provide
a mysterious atmosphere which is very effective.  The Kontra Quartet is
on the fast side, and the mystery vanishes.  The Danish Quartet seems to
be going through the motions in the central section.  The nod goes to the
Zapolski and Olso Quartets.

The third movement, Allegretto pastorale-Presto-Allegretto pastorale,
is essentially a Scherzo and Trio in C major.  The gently swaying opening
gives way to an energized and sharp Presto which then returns to a
chromatic and gentle atomosphere of the first theme.  The Presto is
something else: edge of the seat music which is wild and intense.
Surprisingly, the Allegretto is a problem for the Zapolski and Danish
Quartets; they have a choppy pacing, and the sway is one of an inebriated
person.  However, this particular Zapolski problem is minor compared to
what they do with the Presto: little energy, intensity, or wild ways.
Why they take this mild route is beyond me.  "Contrasts" are very important
with Nielsen, and the Zapolski don't deliver.  The Danish Quartet does very
well in the Presto.

The Oslo and Kontra Quartets have the right pacing in the Pastorale and
also give very exciting Prestos.  I prefer the Oslo for its more crisp
and stark performance; the Kontra has a tendency to be a little bloated.
In the first three movements, the Oslo Quartet is hitting all the right
buttons, and it has done excellently throughout except for that first
movement of Opus 13.

The fourth movement, Allegro coraggioso-Allegro molto, begins in
rambunctious manner and is followed by satire, mystery, tenderness, high
drama, and fugue-like elements.  The Oslo and Danish Quartets fully deliver
each of these six elements.  The Zapolski Quartet is not rambunctious at
all and don't get much out of the two fugue-like passages.  The Kontra
Quartet is entirely non-competitive, being very low on rambunctios,
mysterious, tender, and satirical features.  Overall, they are just too
understated much of the time.

Summary for Opus 14 - This is the Oslo's music at every turn.  They
continue to be idiomatic, and their rustic ways are irresistable.  Each of
the other versions is fairly equal in Opus 14.  The Kontra Quartet looked
like the second best version for this work, but the poor fourth movement
was their downfall.

Don Satz
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