Carl Nielsen composed four published string quartets, mostly from the turn
of the century.  Very few string quartet cycles from that period and more
recently have gained the stature of Nielsen's string quartets.  Although
recordings of them have not been plentiful, particularly from the *major*
record companies, there has been renewed interest in recent years.  As of
this point in time, Kontrapunkt, BIS, Chandos, and Naxos have issued the
four string quartets; other labels have issued recordings of one or more
of them.

The majority of Nielsen's reputation as a classical music composer comes
from his series of symphonies.  Personally, I well remember as a child
being awakened on weekend mornings by the shattering volume of Bernstein's
orchestra playing Nielsen's 3rd Symphony.  My dad was a big Nielsen fan,
but I had no idea at that time of the existence of his string quartets, and
my dad never had any recordings of them.  Nielsen's symphonies, along with
those of Vaughan Williams and Shostakovich, were staples of my classical
music life before coming of age.  I've now reached the point where I prefer
to listen to Nielsen's string quartets over his symphonies.

This survey is prompted by my recent acquisition of Volume 2 of the Chandos
series, Volume 2 of the Naxos series, and a single disc of the first two
string quartets from Centaur.  The recordings used are:

Full Set - Danish Quartet - Kontrapunkt 32150/51 (1993)
Full Set - Zapolski Quartet - Chandos 9635 & 9817 (1996/99).
Full Set - Oslo String Quartet - Naxos 8553907 & 3908 (1997/98).
Full Set - Kontra Quartet - BIS 503/504 (1990).
Opus 5 & 13 - Vertavo String Quartet - Simax 1128 (1995).
Opus 5 & 13 - Kubin Quartet - Centaur 2325 (1996).

One thing to note about opus numbers is that Nielsen's opus 5 Quartet is
his first published quartet but not the first written of the four.  That
distinction goes to opus 13; it's a situation similar to Beethoven's first
two piano concertos.

Some regard Nielsen's Opus 5 Quartet as the first work which truly displays
his individual voice and great artistry.  The first movement, Allegro non
troppo ma energico, is the longest movement of any Nielsen string quartet.
The music is outstanding and highly contrasted.  The first subject is
powerful, angular, rough, and apocalyptic; it's a thrilling listening
experience.  The second subject is slow, swaying, poignant, and gorgeous.

Listening to the Kontra Quartet's first movement highlighted in my mind
the issue of romanticized interpretations and audio controls.  Maintaining
my audio controls at their "usual" levels, the Kontra Quartet sounds
painfully romanticized with little angularity within an overly rich and
"swimming" acoustic.  I decided to attach my equalizer and attempt to
improve my listening experience.  This worked very well; although I had
to make substantial adjustments, I ended up with most of the rich/swimming
acoustic eliminated and the performance was no longer difficult listening.
In fact, it was a very good performance, not superb, but highly rewarding.
The problem is that I know that my final conclusion about the performance
is based on technically altered adjustments that I made.  Of course, every
time I listen to the Kontra's recording, I will make those adjustments.
But, many folks only have treble/bass controls and would have no avenue to
significantly change the sound acoustic or the romanticized aspects of the
performance.  So, I end up thinking well of the Kontra version but wanted
readers to be aware of how I got to that point.  Also, it does bother me
some that through the miracle of recording and play-back technology, I can
so easily transform a certain style of performance into something quite
different.  But, not only movies are magic - recordings are also.  If I
was listening to the Kontra Quartet at a concert, and they sounded much
too romantic to me, there wouldn't be a single thing I could do about it.
So this is another advantage that recordings have over live performances -
listener manipulation.  It's not noble in conception, but it sure is
effective.

There's certainly no reason to make any audio control adjustments to the
Danish Quartet's first movement.  Their performance is outstanding in every
way.  Their handling of the first theme is wonderful - so much tension,
urgency, and excitement.  I can't listen to it without feeling totally
drawn in to an apocalyptic environment.  The angularity the group provides
is a wonder to behold.  Another great feature is the stark and dry sound
acoustic which is a perfect compliment to the performance.  The Danish
Quartet makes the adjustment to the style of the second theme without
missing a beat; it's a performance of incisive beauty and expressiveness.

The Kubin Quartet's performance is excellent and similar in conception to
the Danish Quartet.  But, they are not as urgent, angular, or expressive.
Also, their attacks are less crisp.  This is the slowest of the six
versions, and although the performance does not drag, I do prefer a little
faster tempo.  The good news is that the reading is fully idiomatic, very
enjoyable, and just a little short of being magical.  I am impressed with
this group which I had not previously heard.

I listened to the Vertavo and Oslo String Quartets together, and I'm glad
I did it that way as it well contrasts the difference between a fine and
outstanding performance.  First came the Oslo, and they were very enjoyable
with good accenting and an energetic stance.  Then came the revelation with
the Vertavo String Quartet; the good accenting was now thrilling to listen
to, and the energetic stance was replaced with a wild abandon that somehow
never goes over the edge.  The Vertavo version does rival the Danish
Quartet; the Olso String Quartet is at the level of the Kontra Quartet.

The Zapolski Quartet has had to endure some fairly negative reviews;
they are considered too romantic and wayward.  With this first movement,
I am very impressed.  They are slow, but that does no damage to momentum.
Instead, the group brings out details which seem hidden in each of the
other versions.  Their account is also exciting and incisive.  There is
a romantic element, although I don't find it "over the top" to the degree
of the Kontra Quartet.  Overall, only the Danish and Vertavo Quartets give
better readings.  Based on their more rugged, rustic, menacing, and lyrical
interpretation, The Danish Quartet gets my vote for the best first
movement.

I realize that I've spent much time on Nielsen's Opus 5 first movement.
That's primarily because I like it so much.  There is no first movement
from any string quartet that I enjoy more than the Nielsen.  If you've
never heard it, do give it a few listenings.

The second movement highlights for me the transition from romantic-era
music to early 20th century composition.  In this Poco Adagio, there is
a prevalent mix of the two eras, particularly at the same moments.  One
instrument is romantic, another is looking forward, etc.  This leads me to
want a performance where the canvass is very wide with each corner strongly
and poetically realized.  That doesn't happen with the Kontra Quartet;
theirs is essentially a romantic performance, and I feel there's a whole
other side they gloss over.

The Danish Quartet gives a fine performance, sometimes leaning toward
the romantic, other times looking forward.  However, I don't feel they
intergrate the two very well, and this performance can't compare with their
first movement.  The Oslo and Vertavo Quartets are also good versions, but
not having the wide canvass and strength of the best readings.

One of the best is the Zapolski Quartet.  They open up the music, and
I'm listening to an evolution of musical progression.  Their poetry is
stunning and their strength of delivery is impressive; the integration
of the traditional with the new is complete.  Concerning strength and
evolution, the Kubin Quartet pushes them up a few notches from the
Zapolski's level.  It's a fantastic performance with every moment having
significance; their handling of the tumultuous climax is transcendent.
What the Zapolski Quartet makes masterful, the Kubin Quartet makes magical.

The third movement is a Scherzo and Trio.  The music is playful,
energetic, rustic, strong, and boldly projected.  I first listened
to the Kontra Quartet, and their performance is a nice one.  It has a
pleasureable bounce to it and is vivacious.  Next up was the Kubin Quartet
and they are in a different world; they make the Kontra sound rather wooden
and smoothed over.  Frankly, the BIS acoustic is not helpful - too hollow
and reverberant.  Back to the Kubin Quartet, they really bring the music
to life; the somewhat uncomplimentary review I read of their disc in one
of the periodicals is looking very suspect at the moment.

If you want a slow and somber version of the third movement, the Zapolski
Quartet delivers.  To my mind, the performance has insufficient life to
it and a reluctance to provide sharp accenting.  The Kontra Quartet gives
a better interpretation, and the Danish Quartet is a step up from the
Kontra.  They give a lively and well accented performance with a much
starker acoustic than provided the Kontra Quartet.  The Oslo and Vertavo
Quartets, although having more life and snap than the Zapolski, are still
somewhat subdued and at the Kontra's level.

The fourth movement, Allegro appassionato, is music I have mixed feelings
about.  In some respects, it is similar to the first movement; both have a
very strong and dynamic first theme with a second theme of tenderness and
poignancy.  However, the fourth movement's first theme does not have the
serious nature nor impact of the first movement; it is wild music which
eventually just sounds "over the top" and not of strong foundation.  Also,
its second theme can't compare to the poetry and tenderness of the first
movement's second theme.  Comparisons aside, the fourth movement does has
much excitement to offer interspersed with some attractive lyrical passages
for contrast.

I look for a strong presentation of urgency in the fourth movement, and
the average to slow tempo versions don't tend to possess much urgency.  The
Kontra, Zapolski, and Danish Quartets are in this category.  An additional
negative aspect for the Kontra is a lack of mystery which each of the other
versions provides.  The Kubin Quartet, although not particularly urgent,
are most tender and lyrical in the second theme.  The Vertavo and Oslo
Quartets give the urgent readings and lack nothing in poetry and tenderness
when needed; they both well bring out the mystery in the movement.

Summary for String Quartet Op. 5:

The Kubin Quartet gives an outstanding performance.  Their tempos tend to
be moderate and well matched to the music's needs.  I think they are the
most successful version in marrying the traditional with the new, and they
adhere excellently to my opinion that Nielsen's quartets need a rustic
atmosphere and rugged delivery.

The Danish and Vertavo Quarets are just a little behind the Kubin Quartet.
The Vertavo does excellently throughout with the quickest speeds of the six
versions.  The Danish Quartet is is essential for its fantastic reading of
the first movement, and their performances are consistently rustic and
rugged.

The Zapolski and Oslo Quartets give fine performances.  The Zapolski are
the slowest; this does absolutely no harm in the first two movements but
dampens the impact from the last two.

I find the Kontra Quartet's reading to have significant problems.  It
has a romantic element which overwhelms the modern aspects of the work.
There's little angularity or a sense of rustic environments; ruggedness
is slighted as well.  I know that the Kontra's set has received many fine
compliments, but it is not auspicious to start off with a smoothed over
and urbane Nielsen.

Don Satz
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