In July 1879, Anton Bruckner, who usually thought and created large-scale, surprised the musical society of Vienna by producing a string quintet. This was at the request of Joseph Hellmesberger who had initially asked for a quartet for his string ensemble. Nonetheless the latter was pleased with the quintet with the exception of the curious, elfin scherzo which he deemed to be too difficult. The composer complied and by the year's end had replaced the said movement with a lighter Intermezzo. As is so often the case, the initially "unplayable" became workable and the scherzo was retained. But the Intermezzo went on the have a perennial life of its own.

Bruckner never wrote anything which could be termed "pops" beyond the Austrian-German border (although certain of the scherzi turn up in compilations), yet the Intermezzo could easily fit the bill. It is sometimes played in an arrangement for string orchestra which is very pleasing. Although commencing in a minor key, it is a sunny little work saturated with the feel of the Tyrol, and recalls the young Bruckner's happy service as a fiddler at dances as well as his own lifelong love of dancing. The rhythm of a ländler pervades as the series of themes unfolds in an improvised manner. The listener will note echoes of the finale's second theme from the Second Symphony and the trio of the Fourth, as well as an anticipation of the Eighth's scherzo. As such, the Intermezzo happily presents an alternate view of Bruckner.

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