The String Quartets of Peter Heise

​I was completely unfamiliar with composer Peter Heise, thus I relied on the excellent CD booklet more than usual for information about him and his music. It contains comprehensive liner notes written by Jens Cornelius, from which I summarize here for a bit of context.
 
Peter Arnold Heise was born in Denmark in 1830 and died in 1879 at the peak of his musical creativity, aged just 48. He was notably a composer of songs and an opera. His string quartets were almost entirely unknown in his lifetime and fell into complete oblivion (along with a Piano Trio and a Piano Quintet.) The manuscripts were packed away after his death, and eventually handed over to the Royal Danish Library in 1912, where they were considered “discarded works”. One Quartet surfaced in 1931, and a couple others in the late ‘40s/early ‘50s, receiving a smattering of hearings, but the complete set remained largely unknown and unpublished until 2017. The present recordings by the wonderful Nordic String Quartet bring these marvelous works to light for the first time. The first 3 quartets were recorded in 2023 and released at that time. This current set combines those with the new 2026 recordings of the final 3, which are world premieres.
 
I found it interesting that Heise was primarily a composer of songs, because listening to these string quartets, I kept admiring their lyricism, thinking over and over what an amazing composer of melody he was. Another aspect I kept admiring was how all 6 quartets are very similar in sound, tone, form and overall style, yet so individual, there is never a sense of sameness or routine to them. In fact, I loved what I was hearing so much, I couldn’t turn it off, and ended up listening to all 6 quartets (3 CDs, with a total playing time of 2-1/2 hours) all in one morning. I never grew tired of them; I never got distracted. I was captivated from beginning to end, as I continued hearing endlessly attractive, alluring, beguiling music. I found this remarkable, considering these were all written in quick succession between 1851 and 1857. And it is the very freshness of creativity which makes each one uniquely rewarding, yet unmistakably cut from the same cloth.

These are substantial works, each comprised of 4 movements and lasting around 20-30 minutes (to as much as 35 in the 5th). I can be brief in describing each quartet, as I think I could literally cut and paste my musical observations to them all. There are differences, of course, which make them so endlessly enjoyable, but they all bring to mind many of the same musical elements to varying degrees, from familiar masters such as Mendelssohn and Haydn, to hints of Mozart and Schubert; and most predominantly, the unmistakable influence of Beethoven almost everywhere. The music portrays a prominent melodiousness with an underlying dramatic vigor, and traditional, late Classical, harmonic progression. But for the most part, Heise tends to exhibit a lovely Nordic lyricism and transparency of textures in his music which is noticeably less determined than Beethoven – or even Mendelssohn.
 
Before I get into greater detail, let me make some comments about the playing and the recorded sound which apply to the entire set. First and foremost, the playing of the Nordic String Quartet is simply beyond reproach. Their lovely sound and articulate playing remind me very much of one of my very favorite string quartets – the wonderful Pacifica Quartet. And that is quite a compliment in and of itself. Their understanding of, and commitment to, these marvelous works are remarkable. They make each one an individual mini-masterpiece. 
 
And the recorded sound is excellent – immediate and well focused, within a warm, though very reverberant, very large auditorium (the Garrison Church in Copenhagen). Indeed, that reverberation is almost – but not quite – too much for its own good. The engineers have done an admirable job focusing the group within it without thrusting them forward into the soundstage. It never gets in the way or detracts from the musicmaking; however it, nonetheless, is ever-present and a constant reminder of itself. Interestingly, though the various recording sessions take place over several months, separated by 3 years, and employ 2 different sound engineers, the recorded sound is remarkably consistent throughout the entire set. It’s extremely pleasing, with good detail and presence, while that huge acoustic lends an appealing allure to the overall blend of the group. I believe this very quality actually enhances the passages of dramatic gravitas I hear throughout these pieces.
 
Going back to listen again, beginning with the 1st Quartet, to make notes for this review, I was surprised at how rhythmic and articulate the music was, particularly as I had been so struck with the lyricism of the set overall (perhaps more so in the later works). But immediately in the opening Allegro of #1, yes it’s lyrical, but there is a rhythmic invigoration which propels it. And I noted the superb dynamic contrasts and crisp articulation in the playing. The group then relaxes with a lovely silkiness of tone which draws you into the melodic creativity over the rhythmic momentum. And they bring such charm to it, alternating with real drama too. And that’s not all. There are some truly virtuosic passages as well; and not just scales and arpeggios, either – even the bravura is sheer musical brilliance. Don’t think for a minute this is easy music to play!
 
The Larghetto is kept moving along, propelled by articulated repeated chords underlying a singing 1st violin. There’s even an appealing chorale passage in the central section. And it’s in the Scherzo where Mendelssohn first makes a strong appearance, especially as the tonality remains in the Minor even here. The Nordic Quartet refrains from a true prestissimo though, affording it a bit of gravitas. The same can be said of the final Allegro vivace – it’s not all that fast (I actually would have welcomed a more vivacious tempo here), allowing a bit of Mendelssohnian importance to weigh in. Heise develops this into a quite impressive fugue, and a strong recollection of Beethoven begins to emerge for the 1st time. (And certainly not the last, as we shall hear soon enough.)
 
Now to G Major we go for #2. And the molto vivace Allegro certainly smiles as Haydn sneaks in a wink from the past. But the ghost of Mendelssohn remains ever-present. The Largo is moving with a melody announced by the cello, then taken up and expanded by the 1st violin. The Nordic Quartet wisely keeps this flowing, avoiding any heaviness to weigh it down. (The same can be said for all the slow movements in this set.) Happily, there’s more Haydn (and even Mozart!) in the Menuetto, which is simply delightful at a very brisk tempo. While the Allegro molto finale is not all that molto (it’s more of a Minuet, or perhaps a Gavotte), the lightness of touch is charming rather than vigorous. And Haydn is everywhere present as tonality alternates from Major to brief passages in Minor, and back to the sunniness of Major. One cannot help but smile all through this.
 
Beginning Disc 2, now we encounter an even stronger Beethoven influence as #3 begins with a somber Moderato. And soon an Allegro vivace takes flight, which again, isn’t all the vivace. As a matter of fact, there is a very Beethovian pastorale feel to this music. I was reminded of his 6th Symphony frequently throughout the first two movements, and the Nordic Quartet solidifies the resemblance by emphasizing the very Beethovian accents with incisive articulation. And we hear an even more predominating tunefulness, which imbues the music with an almost Schubertian melodic lyricism. And I begin to remember why I came away thinking these works were so lyrical in conception. The Scherzo then isn’t all that presto (as marked) but certainly agitato (also marked). And we now have some of the sly humor of Beethoven beginning to permeate the musicmaking – even more so in the molto Allegro finale, where we hear distinct hints of the final movement of his 4th Symphony.
 
And speaking of Beethoven symphonies, his 2nd comes to mind in the opening Allegro molto of the 4th Quartet. And I suppose I can stop making references to Beethoven at this point; my notes keep repeating the same phrase over and over: “This is Beethoven all the way!” So I’ll refrain. However, as we get into these later quartets, likely enhanced somewhat by the grand acoustic in which these were recorded, we begin to hear an almost symphonic grandeur in many passages, which keeps Beethoven always in mind. As to the rest of #4, it is enjoyable, if a bit slighter and shorter than the others (around 21 minutes). Its slow movement is replaced with a simple Andante, followed by a slightly serious Menuetto and ending with a vigorous vivace. The overall feel of the piece is just a bit darker and more robust than those preceding it.
 
In contrast, #5 is notably the most substantial of the set at over 35 minutes – the majority of it coming in the very considerable final movement. The opening Allegretto instantly returns us to the pastoral mood of #3, but more expansive this time (it’s marked tranquillo) and more symphonic in scope. And when the main Allegro takes flight, it’s nowhere near vivace (as marked) but continues to sound more symphonic in nature, again aided by the enormous acoustic. But the development shows how much Heise is progressing as a composer. There is some true joyousness infused into the dramatic vigor, which the Nordic Quartet relishes, and, well, it sounds so very much like…you-know-who. (Sorry, it’s unavoidable.) The Andantino is taken very slowly here (and I’m not entirely sure why) and is rather serious, but very moving, with the reverberation granting it even more emotional gravitas (again much like the slow movement of the Pastoral Symphony). The Scherzo is delightful and appropriately lighter, but even here there is dramatic vivaciousness to it which often reminded me of Mendelssohn (A Midsummer’s Night Dream), and even a moment anticipating the finale of Prokofiev’s Classical Symphony! This is actually pretty progressive for 1853!
 
The finale is where the real substance of the piece lies, which alone goes on for over 16 minutes. It begins Adagio, with a very operatic aria for the 1st violin, and then it’s to Mendelssohn in the Allegro energico (the Octet this time), which occupies almost the entirety of the movement. Remember before when I said this music is not easy to play, well that is certainly evident here. It’s long, strenuous and muscular. And it never lets up. The Nordic Quartet takes it in stride, bringing enormous energy to it – full of life, and superbly (indeed effortlessly) played.
 
Finally the 6th – we jump ahead 4 years to 1857. This was the first of Heise’s quartets to be “rediscovered” and achieve any real exposure to an audience before now. An opening Largo sets the mood before the Allegro appassionato gets underway. If #5 was all Mendelssohn, well, #6 is, once again (you guessed it), all Beethoven. The appassionato marking in a minor key all but ensures it. And just as in the Adagio of #5’s finale, Heise again reveals his operatic roots here, and the wonderful Nordic Quartet pours on the passion without becoming too intense with it. Their rich vibrato, beautiful harmonic blend, and vibrant, soaring lines bring this music to full bloom. It is followed by a simple (almost deceptively so), songful Andantino – though it does grow with surprising emotional depth before leading to a vivacious presto 3rd movement, which itself contains an impassioned lyrical interlude, before – wait! What’s this?! – a measure or two of pizzicato! I write that with shock because it suddenly occurred to me that it is the very first (and only) time in this entire body of work that Heise uses pizzicato. And it’s over before one hardly registers what it was. And now that I’ve heard it, I wonder why it isn’t incorporated anywhere else.
 
And the finale – there is a brief almost Tchaikovskian Sostenuto leading to a vigorous, but lighter-than-expected, final Allegro molto (which here does indeed sound molto) – and it’s back to Mendelssohn we go for this final work, as Heise comes full circle in the cycle. It’s virtuosic and energetic, and filled with as much joyfulness as the minor key allows. And the Nordic Quartet brings it to a very dramatic close with a resolute, final unison G, sans vibrato. And if it’s not quite the pinnacle of achievement I was expecting, it is nonetheless as glorious as all the others – crowning a thoroughly musical and most rewarding set of string quartets. And one laments that Heise never returned to the genre before he died 20 years later.
 
After listening to this entire set twice, I conclude both times that the glorious playing of the wonderful Nordic String Quartet is a constant pleasure to listen to – and that alone caused me to never tire of listening to this music. They bring these 6 Quartets to life in a way I can’t imagine any other group accomplishing more convincingly – or lovingly. And the warm, pleasing recorded sound compliments them beautifully, despite the pronounced reverberation. But above all, it’s the glorious music from a sadly neglected composer who, like so many others, died too young, which makes this set so treasurable. Anyone who admires the string quartets of Beethoven and Mendelssohn will surely love these by Peter Heise as well.
 
The production from Dacapo Records in Copenhagen is excellent – including, as mentioned at the top, an excellent booklet with comprehensive liner/program notes, along with a detailed track listing and recording/production information, and highly attractive cover art. And the works are presented in chronological order, just as they should/must be, though necessitating they be spread over 3 CDs. And though it’s a minor point, I really like the single-sized 3-disc CD case it comes in, which encloses the back insert under the 3rd CD at the bottom, rather than utilizing a bigger, clunky 4-disc box; thus it is no wider than a standard CD jewel case.

Taken as a whole, this set is absolutely indispensable and certainly another contender for the “Best of the Year” list.