Arnold Krug (1849-1904) was born in Hamburg. He began his music studies with piano lessons from his father, who was a music teacher. Later, he was sent to the Leipzig Conservatory, where he studied with Carl Reinecke and then went on to Berlin, where he continued with Friedrich Kiel and Eduard Franck. After completing his studies, he taught in Berlin before returning to Hamburg, where he remained for the rest of his life.
This string sextet was known as the "Prize Sextet" because Krug won the Stelzner Prize for chamber music with this composition. Alfred Stelzner was an inventor of two instruments--the Violotta and the Cellone--which he believed would create a revolution in composing for string instruments. The Violotta, tuned an octave below the violin, was said to fill the gap between the viola and the cello. The Cellone was a big cello, tuned two octaves below the violin, or a fourth below the cello, and meant to fill the gap between the cello and the kontrabass. Stelzner vigorously promoted his instruments and sponsored competitions. One such competition was sponsored by the Dresden Conservatory in 1896, in which Krug won his prize. The Prize Sextet was originally for 2 Violins, Viola, Violotta, Cello and Cellone, but the publisher of the work wisely hedged his bets and produced an edition, upon which ours is based, for the standard combination of 2 Violins, 2 Violas and 2 Cellos. Of this work, Wilhelm Altmann, the famous chamber music critic, has written:
"If not a masterpiece of the highest order from start to finish, Krug's Sextet nonetheless comes away with high honors. He uses his themes skillfully, and his sonorities are quite successful. The first movement, Allegro, begins with a short but powerful introduction that gives the impression of storms ahead. Instead, the main melody is quite genial and broad. Later, Krug cleverly weaves the introduction into the second theme and uses it as part of the coda. The second movement, Adagio tranquillo, is characterized by a calm, deeply felt melody, which is interrupted by an urgent and highly dramatic middle section. There is no scherzo, but the lively first theme to the finale, Allegro, seems to fill this gap. A quieter and more lyrical second theme provides excellent contrast."