Just like Symphony No. 1 for full orchestra (2019–20), UES100540, String Quartet No. 1 (2021–22) is taking its stylistic influences on the melancholic character of the Finnish folk music. Similarly both works are featuring the 5/4 time signature at the beginning, generally understood as the rhythmic pulse of the traditional runic singing. Moreover, melodic and harmonic structures and essences are based on the corresponding concepts to be found on the Finnish folk music, featuring a coherent and reflective form and a simple, yet extremely intense tonal basic principle. The most significant idea behind the instrumentation was to make the most persuasive-voiced outcome of the whole. In order to achieve this, the tone of the individual instrument has been utilized as richly as possible, taking its natural register and the most mellow timbre on account.

To endorse the understanding of the musical content of String Quartet No. 1, it is decided to draw up a purely imaginary story to which the subtitles of the work and individual movements are referring to, a tale of two lovers. Influences to the popular poems of the subject are noticeable although the work is not musically narrating none of those: William Shakespeare’s Romeo and Juliet (ca. 1591–95) and August Strindberg's Swanwhite (1902). Therefore, String Quartet No. 1 is program music, inspired by external sources.

It is worth to note, however, the musical content of the each movement are not literally describing the events within the story, rather those are mediating title-relating emotions. The first movement, In isolation, memories, grief, yearning [Andante sostenuto e quasi misurando], is creating a vision on the lonely singing maiden who is yelling aloud on her longing while the lover is far away. The emotional impression is almost religious in its pure beauty, very subtle and intimate. The main musical idea of the movement is appearing at the measure 46, introduced at first by viola and then building up to an impressive and assertive canon, ending up to a terrifying musical scream in the manner of the corresponding one featuring in the first Adagio movement of Gustav Mahler’s Symphony No. 10. At the end, the chorale-like motif returns, hope, caring enthusiasm, love, excitement on the approaching reunion [in the third movement]. At the end, the beating note c ‘col legno’, heartbeats of the lovers, distancing carriage carrying maiden to the encountering, nervous breathing of the companion in the agreed place…

The following relatively short movement, Intermezzo [Moderato ma non tanto], is meant to be a purely musical interlude that does not link at all to the programmatic content of the work. In contrast to this, the core of the whole work is built up in the 12-minute third ‘Romanze’ movement [Andante cantando e molto espressivo], featuring the most lyrical and sweetly expressive musical ideas, describing the reunion of the lovers.

Finale, Return [Sostenuto e misterioso - Allegro con brio - Largamente assai], is bringing the work to its logical end, consisting of musical material from the preceding movements. Even in the most vigorous musical passages, the natural timbre of the individual instruments have been taken into account. Impassioned energy that has been packed up gradually, is reaching out its effusion at the closing section, featuring tempo marking Largamente assai. Dramatic arch has reached its cyclical conclusion, ending the work with serenity and peace.

String Quartet No. 1 is dedicated to the memory of my maternal grandfather who passed away on 4 October 2021 during the composing process of the first movement. He had influenced a lot on my musical career; when I was a child he introduced me to the music of Ludwig van Beethoven (1770–1827), Jean Sibelius (1865–1957) and Pyotr Ilyich Tchaikovsky (1840–1893) among a few other composers. The lyrical musical language of the work is taking its origins of this early love to romanticism.