The Nash Ensemble's latest CD release of Brahms' Sextets No. 1 (op. 18) and No. 2 (op. 36) once again leads the way with an energetic, brilliant and deeply atmospheric performance.
On almost every level they impress. From the tightness of their ensemble to the brilliance of their sound, these six dynamic performers achieve sparkle and delight. The Onyx label has certainly selected the best: this recording is one to be marvelled at and envied.
String Sextets No. 1 and No. 2 occupy an important place in Brahms' repertoire. Composed early in his career (1858 and 1864), they were the first chamber works to be written without the inclusion of a piano. In choosing the string sextet (rather than the more common quartet), Brahms was attracted by the full lyrical and melodic potential an extra viola and cello could offer: with this scoring, the lower lines could maintain their traditional role whilst also contesting for the melody. Certainly these sextets challenge the full extent of technique and demand the equal contribution of each player - traits which Brahms passionately valued.
The first movement of the String Sextet No. 1 is marked by the elegance of the Nash Ensemble's playing. Their opening is dignified, allowing space for the momentum of Brahms' antiphonal writing between the first violin and first cello to emerge. The intense and rich textures that follow are matched by the sonorous and brilliant sound of the Nash Ensemble. But what excites me most is the driving force of the second movement. The opening theme is relentless while the following stormy variations show off the virtuosic playing of both the violas (Lawrence Power and Philip Dukes) and cellos (Paul Watkins and Tim Hugh). A little treat is followed in the Scherzo: Allegro molto which lives up to its name - the Allegro is certainly fast but skilfully controlled. Ensemble is everything for these Nash players. It comes as no surprise then that the final movement, scored in the more conventional style of a quartet, is equally delightful and ends the work with an exciting viola flourish.
Brahms' Second String Sextet is of another mood altogether but is just as accomplished as the first. The slow trill from the viola hints from the start at the darker nature of this work. A sense of foreboding is also marked by the emergence of the theme which appears in unison octaves: it hints at Brahms' personal despair following the agony of his failed romances of both Agathe von Siebold and Clara Schumann. The seamless transitions between the contrasting (and juxtaposed) troubled and animated passages are impressive. However, the real highlight for me is the stylish trio section in the second movement. This is performed with zest, displaying the full finesse of the Nash Ensemble. Occasionally it is difficult to hear the middle register pizzicatos of the opening and final sections, but this is a small consideration.
The Nash Ensemble beautifully encapsulates the different characters of each of the five variations. They present a broad scope of dynamic colour with careful negotiation of the contrapuntal passages in the third variation.
A final testament to the Nash's talent comes with the closing movement. Its buoyant tempo and rapid semi-quaver passages are tackled with ease and each player with their boundless energy drives the piece to a close. Final credit goes to the sound engineer Simon Haram, who kept even the lowest of registers audible.
An outstanding performance from the Nash Ensemble, who retain their title as one of Britain's finest chamber groups.
By Mary Robb