Despite an attempt in G minor from 1888, the 1890 String Quartet in F minor was the first which Carl Nielsen deemed canonical, publishing it as Opus 5 in 1892. Trusting his skills, the composer approaches this exacting medium with confidence. From the beginning "sweep," Nielsen's music is characteristically seamless, the direction of his discourse seemingly inevitable, despite some awkwardness and loss of momentum in transitions. Sinewy and tense, the syncopated first movement, in 3/4 time, anticipates the later Nielsen of the Third Symphony. A significant feature of this movement is the discernible influence of Brahms. The warmly lyrical second movement, Un poco adagio, is not as deeply probing emotionally as the composer's later slow movements. But the third movement, Allegretto scherzando seethes with Nielsen's characteristic humor, alternating elfin mischief with bluff farce. Some of the latter makes itself felt in the finale, although the impact is lessened by the somewhat static rhythm; likewise, the somewhat impetuous coda, reminiscent of Tchaikovsky and Dvorak, but not as effective in this setting, shows the composer making concessions to traditionalism; these minor flaws identify this movement as perhaps less inspired than the preceding three. Nevertheless, Nielsen's first "official" essay in a demanding medium shows him proceeding confidently and poised to investigate new musical worlds.



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