![]() ![]() Despite the melancholy first subject, which returns after a long pause to begin the recapitulation, the movement actually ends quite brightly. It also calls Brahms to mind, though, especially in the much lighter, delicate second subject. I say I hate to say that because Melartin was overshadowed by Sibelius for basically his entire career. This kind of chilly melancholy is, I hate to say, somewhat similar to the sound you might expect from Sibelius. This plunge is breathtaking, the kind you take when you’ve jumped into a freezing pool. The first movement begins with a beautifully Romantic statement, no introduction or preface, just a plunge into a richly melancholy sound world. The work is in four movements, as follows, with a duration of about 23 minutes. 7 do we reach something from the 20th century. 1, a suite for piano four hands, dates from 1899! Not until his op. That opus number gives the impression that this work is a later composition than it is. 36, even though the composition of the three pieces span around six years, with this first appearing in 1896, the other two after the turn of the century. Melartin’s first three string quartets were bundled and published together in his catalogue as op. At the very least, knowing nothing about it and giving it a listen, it provides a fine experience, showing a composer who’s more than adept in the form. ![]() ![]() There’s (perhaps unsurprisingly) precious little information available about this piece, but we’ll do our best. We welcome Erkki Melartin back to the blog, after around a year since the Finnish symphony series, but finally with his first quartet. ![]()
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