Brahms, Johannes
Brahms: String Sextets, reedycja
Talich Quartet;
nr katalogowy
Brahms held musical tradition in high esteem; he accepted it as a musical standard of value in an epoch when other important contemporaries, such as Richard Wagner, began their working lives by playing a prelude or a fugue from the Well-Tempered Piano, but did not want to put their own works at the service of a tradition. To make tradition the sole guiding principle of one's own creative power naturally leads to a dead end. But with the sure-footedness of hoofed animals living in mountainous regions, Johannes Brahms found his way between the rigid preservation of the traditional and the revolutionary destruction of the traditional, and since man lacks the sure instinct of such hoofed animals free from giddiness, Brahms can be credited with this sure-footedness on his difficult path as a special merit. Especially since he had to witness how his contemporaries became more and more specialized - Wagner cleverly claimed the term "Gesamtkunstwerk" for his stage creations in order not to have to further prove his brilliant musical abilities, Bruckner excelled in symphony and organ music... Brahms, on the other hand, was active in all genres except music theatre: symphony, instrumental concerto, sacred music, song and chamber music. The present three publications make this impressively clear: from the early Piano Trio op. 8 to compositions of the late work such as the Third Piano Trio op. 101 and the Third Violin Sonata op. 108, they are filled with a creative will that knows how to express a single musical cosmos in the most diverse forms without unduly straining the respective boundaries of the musical instrumentation. The almost orchestral string sextets opp. 18 & 36, in particular, provide an eloquent example of this; in an ingenious compromise between chamber music and symphonic tone, the contrast between intimacy and pathos is kept in perfect spiritual balance.
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