Composer: Johannes Brahms
Works: String Sextets: No. 1 in B flat, op. 18; No. 2 in G, op. 36
Performers: Yehudi Menuhin (violin), Robert Masters (violin), Cecil Aronowitz (viola), Ernst Wallfisch (viola), Maurice Gendron (violoncello), Derek Simpson (violoncello)
Recording: Recorded September 1963, December 1964, No. 1 Studio, Abbey Road, London
Label: EMI Classics CDE 5 74957 2
Brahms’s String Sextets represent a pivotal moment in the evolution of chamber music, merging rich harmonic language with structural rigor. Composed during his early years, the two sextets reveal the composer’s acute sensitivity to instrumental color and texture, reflecting his deep engagement with the traditions of the string quartet while expanding the ensemble’s expressive capacity. The first sextet, written in the autumn of 1860, exhibits an exuberance that belies the composer’s often austere reputation, while the second, published in 1866, explores greater harmonic complexity and a more introspective character. This recording, featuring Yehudi Menuhin alongside a distinguished ensemble of British chamber musicians, captures the essence of both works with remarkable clarity and interpretative depth.
The performance of the first sextet is particularly noteworthy for its lyrical expansiveness, a trait that is fully realized through the musicians’ intimate understanding of the score. Menuhin’s leadership is palpable; his violin weaves a silken thread throughout the intricate dialogue between instruments, revealing the thematic nuances Brahms intricately designed. The players exhibit a seamless blend of individuality and collective cohesion, evident in the first movement’s lively Allegro. The lush harmonies are articulated with a buoyancy that invites the listener into a world of rich melodic invention. The ensemble’s ability to embrace the dynamic contrasts inherent in Brahms’s writing is commendable, elevating the performance beyond mere technical proficiency into the realm of expressive storytelling.
The second sextet, while structurally more rigorous, does not lack in emotional depth. The recording conveys a sparse texture that challenges the performers to explore the subtleties of Brahms’s counterpoint. Here, the interpretation shifts towards a more measured pace, allowing the listener to appreciate the intricate web of motifs that define the work. However, this performance occasionally feels constrained, as if the ensemble is navigating the score with a sense of obligation rather than discovery. The Adagio movement, while beautifully rendered, could benefit from a more pronounced sense of longing, which remains somewhat muted in this interpretation. It is in these moments that the energy of the first sextet feels more vibrant and immediate, suggesting a disparity in inspiration between the two works.
The technical quality of the recording is exemplary, with a warmth that enhances the rich timbres of the string instruments. The balance among the six players is well-engineered, allowing each voice to emerge distinctly while also contributing to the overall harmonic tapestry. This clarity is essential in Brahms’s writing, where intricate interplays between voices can easily become obscured. The decision to record at Abbey Road Studios, a venue renowned for its acoustic properties, undoubtedly contributes to the recording’s success.
Comparatively, there are numerous interpretations of Brahms’s string sextets that offer varying degrees of insight. Notable recordings by ensembles such as the Emerson String Quartet or the Takács Quartet present a more modern approach, often with an emphasis on brisk tempos and a sharper articulation of thematic material. However, this recording’s warmth and lyrical approach present an alternative view that beautifully encapsulates the romantic essence of Brahms’s music.
The interplay between rigorous structure and lyrical expressiveness in Brahms’s sextets requires performers to balance these elements delicately. While the first sextet shines with a palpable joy and spontaneity, the second sextet, though offering moments of profound beauty, occasionally reveals a sense of constraint that dampens its overall impact. Nevertheless, the musicians’ heartfelt engagement with Brahms’s music is evident, and the recording stands as a compelling representation of these significant works. This collection, particularly for the first sextet, is indeed a vital addition to the discography of Brahms’s chamber music, resonating with both historical and interpretative significance.
