Johannes Brahms: Chamber Music

Available in Audiophile 96kHz/24bit

Buy Album
Album Name Length Format Sample Rate Price
Johannes Brahms: Chamber Music 59:39 $17.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 String Quartet op. 67 in B flat major: Vivace 8:25 $2.49 Buy
2 String Quartet op. 67 in B flat major: Andante 6:08 $2.49 Buy
3 String Quartet op. 67 in B flat major: Agitato (Allegretto non troppo) 6:43 $2.49 Buy
4 String Quartet op. 67 in B flat major: Poco Allegretto con Variazioni 8:09 $2.49 Buy
5 String Sextet op. 18 in B flat major: Allegro ma non troppo 12:07 96/24 Album only
6 String Sextet op. 18 in B flat major: Andante, ma moderato 7:37 $2.49 Buy
7 String Sextet op. 18 in B flat major: Scherzo. Allegro molto 2:36 $2.49 Buy
8 String Sextet op. 18 in B flat major: Rondo 7:54 $2.49 Buy

Price as configured: $17.98

* Required Fields

The Big Top
Since Brahms' mastery reaches its heights in his quartets and sextets, it is only fitting for top artists like the Leipzig String Quartet to team up with renowned chamber instrumentalists such as the violist Hartmut Rohde and cellist Michael Sanderling to document their interpretation of two of this composer's central works, as heard on this CD.

True Touchstone
While many of his colleagues turned to the symphonic poem, a more attractive and fashionable form precisely because it was a more spectacular one, Brahms always maintained that chamber music was the true touchstone of compositional artistry.

Productive and Destructive
Brahms had a special predilection for the key of B flat major, terming it "good milk" and a "productive udder." His Quartet op. 67 and Sextet op. 17, two fascinating compositions from his most productive creative period and both in B flat major, were preceded by more that twenty string quartets that failed to measure up to the master's strict standards and which he destroyed with his own hand.

Clara's Unclarity
Clara Schumann, who looked to Brahms for brooding depth, could not see the geniality of the second movement of the B flat major quartet. She regarded this movement and its spirited free-and-easy style as "not important enough for Brahms."