Arriaga's first quartet, in some ways the finest of his three, was not necessarily written first; it was merely positioned first in his First Book of Quartets, no doubt to make the most positive first impression possible. (Arriaga did not live to complete a second book of quartets.) Its themes are the most impulsive and dramatic, yet they exist in a context of great classical poise and balance.

The initial Allegro begins with a theme both stern and tragic, paired off with a more plaintive but still propulsive second melody, wobbling between F major and F minor. Both are delivered over an agitated accompaniment, and if the melodic shapes are strongly Mozartian, the dark development section is more reminiscent of early Beethoven and has much in common with Schubert.

The Adagio con espressione features a song-like melody beholden to Mozart and especially Haydn. The first violin clearly dominates this movement, as in the style of the period's "quatours brillants," with the other instruments relegated mainly to accompaniment and transitional material.

Early- to mid-period Beethoven exerts a strong influence upon the Minuet (Allegro), with its short, fragmentary phrases seeming to gravitate toward dramatic counterpoint without ever coalescing. In strong contrast, the central Trio section is a lighter, simpler, yet not much brighter Andalusian bolero.

The last movement begins with an expressive Adagio section that evokes Beethoven's late quartets; this gives way to a lilting yet troubled Allegretto, the music at times rather turbulent. The movement's form is puzzling; at times it seems a series of variations, but contrasting material suggests more of a rondo form. And then, midway through, the Adagio section returns, followed by a more dramatic treatment of the movement's other material. The piece ends in comparative equanimity, with effective use of pizzicato cello in the coda.

© All Music Guide