Brahms’ First and Second Piano Quartets were composed in rapid succession as their consecutive opus numbers indicate but, as in some of Beethoven’s works which were worked simultaneously, the results were vividly contrasted. Whereas the First was relatively extrovert (especially in its manic “gypsy” finale) and has become better known because of its orchestration by Schoenberg, the Second is a much more measured affair, easily Brahms’ longest chamber piece, normally lasting around 50 minutes (although I remember listening once to a Chandos CD with, I think, the Borodin Quartet which lasted a good five minutes longer.) 

Zimerman and co. shave a few minutes off the average duration without ever sounding rushed or perfunctory. Was it a subliminal influence of Schubert on the still young Brahms? Who knows? One thing is certain, the work radiates in large part a Schubertian discursiveness and an Olympian tranquillity. 

I’ve always marvelled at Brahms’ ability to convey a distinctly autumnal mood in his music at a young age, but here he also displays a, superb finesse. I loved the way Zimerman and his colleagues continually trade roles creating, a chiaroscuro effect. This...