After its triumphant first performance in 1800, Beethoven's Septet went on to become not only one of the most popular but also one of the most influential chamber works of the period. The composer himself grew to dislike the piece, but it remains one of the most treasured products of the classical era. The many fine performances of the Septet available on disc – to which this latest issue offers a fluent, responsive account that highlights the music's intimate chamber character – delight in the music's elegance and perfect balance of instrumental forces. In the present instance, vivid recording creates a clear, natural ambience for this Hungarian group's alert, sensitively blended ensemble. However, compared to the Vienna Chamber Ensemble's outstanding account, the Hungarians sound a little too restrained for my taste. The Vienna Chamber Ensemble's greater exuberance in the outer movements, and sparkling virtuosity from its individual members in general, creates increased animation, emphasizing the music's extrovert, concerto characteristics.
The differences between these two approaches are further underlined in the Sextet, Op. 81b, where the Vienna group's greater spontaneity and freedom – including extempore cadenzas from the horns in the outer movements – sounds more compelling than the Hungarians' more subdued reading. Moreover, although horn players, Jeno and Janos Kevehazi play with subtlety and panache as required, their tone sounds relatively hard-edged beside Terwilliger's and Altmann's sensational mellifluousness. Nevertheless this Naxos disc, which also offers an elegant, well-turned performance of Beethoven's E flat Quintet, still represents excellent value.'