Stenhammar: String Quartet 1 & 2

 

Not two of Stenhammar's most beloved quartets, but they show the beginnings of a musician.

Stenhammar's Symphony no. 2 is most often preferred over his First Symphony, and similarly, his Second Piano Concerto is showered with love moreso over his Piano Concerto no. 1.

Stenhammar went further into String Quartet land with six numbered quartets and another unnumbered. So, it should come as no surprise that these two early quartets are not aired out as often as his later ones.

Both show a young composer's influence of the Germanic school of compositions; for these ears, that means Brahms. Similar to that German master, I love it when Stenhammar has the quartet dig into the instrument's lower ranges, even if the works lay on the conservative, formal side of the composing spectrum.

String Quartet no. 1 in C Major is a delightful work, especially if you enjoy a well-constructed conception. Stenhammar gives little snatches of motivic ideas which are firmly developed, all one could ask of a young composer. The final two movements particularly stand out, where there is a bit of the exotic or Bohemian on hand, again perhaps a nod to Brahms or Dvorak.

Despite that, this first quartet from Stenhammar is a tad too polite and pleasant as a piece of music, no fault of these performers. The young composer hasn't quite started taking chances yet, and some of this can be felt in its runtime; the final moments of the finale, however, are quite clever.

If SQ1 is lovely and affable, String Quartet no. 2 in C minor is blustery in contrast. Many point to Beethoven as an influence here, probably because of the cranky musical mood and the c-minor key, but I still hear the ghost of Brahms floating around this music.

The jewel of SQ2 is the slow 2nd movement, where the opening and closing songfulness is absolutely to die for. The main tune with the underlying harmonies are nigh-upon cinematic, and it makes the heart ache, yet I would spin this music endlessly if allowed. Again, my mind wanders to Dvorak here, but surrounded by minor-keyed angst, makes this portion stand out.

The Stenhammar Quartet plays their namesake' music with a light freshness which reminds me of the Panocha Quartet's cycle of Dvorak's chamber music on Supraphon. There is no aged, oaken quality to their playing, although there is nothing wrong with that approach. Instead, the Stenhammar Quartet make his music dance with delight, yet dig in hard when called upon for musical contrast.

Certainly their approach, not to mentions BIS' high-quality sonics, contrasts greatly with the much older Fresk and Copenhagen quartets on the Musica Sveciae label. If Stenhammar's musical arguments aren't as strong as his later works in this genre, certainly the Stenhammar Quartet makes a strong case for these early SQs.

Listen on YouTube

Work
String Quartet 1 in C Major (32.33)
String Quartet 2 in C minor (28.40)

Performers
Stenhammar Quartet
  Peter Olofsson, violin
  Per Öman, violin
  Tony Bauer, viola
  Mats Olofsson, cello

Label: BIS
Year: 2014
Total Timing: 61.54

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