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It might only have two extra players, but a string sextet can be a far more cumbersome ensemble than the more usual quartet, a problem both for composer and musicians. Happily this in no way affects either Brahms or Hausmusik London. This performance is full of admirably restrained playing. None of Brahms'' delicate moments - the shimmering and sliding descending passages, the almost fragrant melodic breezes - are overpowered by the extra instruments. The same goes for the more vigorous passages where Brahms makes full use of his extra instrumental resources to conjure up rich and welcoming harmonies and textures. Hausmusik, who formed in 1986 with the intention of performing Romantic music on period instruments, excel themselves playing as one to bring a freshness and sprightliness to Brahms''s pastoral masterpiece.
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Brahms: Sextet 1 in Bb - Op18 - Scherzo : Allegro molto |
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[3:00] |
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RATING:
 
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Brahms: Sextet 2 in G - Op36 - Poco adagio |
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[8:52] |
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RATING:
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Biography
Brahms''s two string sextets date from 1859-60 and 1864-5 respectively a period characterised by several commentators as the composer''s ''first maturity''. While this judgement may well be somewhat patronising towards the earlier music, it nevertheless points to a central truth about the works of that time, that they embody many of the distinctive features of Brahms''s creative mission in a newly focused, refined and synthesised way, with influences assimilated and harnessed, an assured mastery of technique, and increased expressive definition and diversity.
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