Composer: Johannes Brahms
Works: String Sextets: No. 1 in B flat, op. 18; No. 2 in G, op. 36
Performers: Yehudi Menuhin, Robert Masters (violin); Cecil Aronowitz, Ernst Wallfisch (viola); Maurice Gendron, Derek Simpson (violoncellos)
Recording: Recorded Sep. 1963, Dec. 1964, No. 1 Studio, Abbey Road, London
Label: EMI CLASSICS CDE 5749572
Brahms’s string sextets, composed during the height of his creative powers in the 1860s, reveal a fascinating juxtaposition of robust structural integrity and lyrical expressiveness, defying the austere reputation often associated with his chamber music. The String Sextet No. 1 in B flat, op. 18, and the subsequent No. 2 in G, op. 36, provide an intricate tapestry of interwoven voices that showcases Brahms’s masterful command over texture and harmony. The present recording, featuring the illustrious Yehudi Menuhin alongside a stellar ensemble, encapsulates the essence of Brahms’s musical language, offering a vibrant interpretation that resonates with both historical fidelity and emotional immediacy.
The performance of the first sextet is particularly notable for its rich, warm sonority, a hallmark of the ensemble’s collective artistry. Menuhin’s leadership is characterized by a nuanced understanding of the work’s lyrical contours, allowing for a fluidity that enhances the music’s inherent drama. The opening Allegro moderato unfolds with a buoyant energy, where the ensemble’s cohesive articulation brings forth the thematic material with clarity. The interplay between violins and violas is executed with a palpable sense of dialogue, each voice responding and enriching the other. The musicians’ apparent familiarity with the score allows them to navigate Brahms’s intricate counterpoint with an ease that belies the technical demands of the piece.
In contrast, the second sextet presents a more austere texture, a testament to Brahms’s evolving compositional style. The initial impression is one of restraint, as the players explore a wider range of dynamics and timbres, creating an atmosphere of introspection that requires attentive listening. While the performers maintain a professional rigor, there is a lingering sense of missed inspiration compared to the exuberance of the first sextet. The Andante, marked by its beautiful, expansive themes, showcases the ensemble’s ability to evoke profound emotional depth, yet it occasionally feels constrained, as if the musicians are adhering too closely to the score rather than fully liberating its expressive potential.
The recording quality is commendable, capturing the rich tonal palette of the instruments in a well-balanced acoustic space. The engineering offers clarity without sacrificing warmth, allowing the listener to appreciate the subtleties of the ensemble’s interactions. This production stands favorably alongside other notable recordings, such as those by the Melos Ensemble and the Budapest String Quartet, both of which bring their unique perspectives to these beloved works. However, the intimacy and immediacy of this performance, particularly in the first sextet, render it a compelling listening experience.
The combination of historical context and performance interpretation in this recording of Brahms’s sextets provides invaluable insights into the composer’s artistry. The expressive dynamism of No. 1 contrasts with the more contemplative nature of No. 2, inviting listeners to engage with the evolution of Brahms’s chamber music. The players’ passion and technical prowess elevate this recording, making it an essential addition to any chamber music enthusiast’s collection. The exceptional playing, particularly in the first sextet, coupled with the high-quality engineering, ensures that this disc not only honors Brahms’s legacy but also invigorates his music for contemporary audiences.
