Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design.The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements.It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.

中文翻译：

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贝多芬C大调弦乐五重奏，作品。29、勃拉姆斯的弦乐六重奏：壁花盛开

贝多芬的弦乐五重奏，作品。29，被描述为“壁花”作品，没有足够的追求者，留在弦乐室内乐曲目的边缘。但在 19 世纪，它有一位杰出的冠军约瑟夫·约阿希姆 (Joseph Joachim)，他的五重奏表演一定引起了他的密友约翰内斯·勃拉姆斯 (Johannes Brahms) 的注意。勃拉姆斯弦乐六重奏的开场主题，作品。18，显然让人想起贝多芬五重奏的开始。证据来自唐纳德·弗朗西斯·托维对约阿希姆的回忆，约阿希姆与勃拉姆斯传记作者马克斯·卡尔贝克的通信，以及 Op. 的手稿。图 18 显示约阿希姆影响了一个重要的修订，该修订将勃拉姆斯六重奏的开头与贝多芬作品的开头紧密对齐。29 在质地和形式设计方面也是如此。贝多芬五重奏最后乐章中引人注目的颤音开场和精湛的音阶乐段预示着勃拉姆斯作品的最后乐章中的类似元素。36个六重奏。但这些运动之间更深层次的关系在于某些共同的形式元素：共同强调声音、质感和强烈对比作为整体形式的定义特征的激动和田园元素之间的鲜明对比——以及对位策略、形式和音调设计的几个显着相似之处。主导这两个乐章发展部分的实质性 fugatos。经常观察到勃拉姆斯成对创作室内乐作品。学者们经常假设他的两个弦乐六重奏形成了这样的一对，但他们开始时的四年分离以及他在 1850 年代后期六重奏中广泛使用的巴洛克风格材料使这一论点变得微不足道。现在发现，勃拉姆斯的弦乐六重奏的一个不同寻常的配对特征是两部作品都回应了贝多芬的“壁花”杰作。