Han Pfitzner's Sextet in g minor, Op.55 is a work that belies its date of composition, 1945. Composed toward the end of his life, Pfitzner was not only ill, but also almost entirely blind. When he had completed it, he considered calling it a Suite or a Serenade not only because it was in five movements but also because of the pleasant and genial nature of the music which one usually finds in a divertimento or a serenade. It was the second to the last work he was to compose, but unlike the late music of Brahms or Richard Strauss, the music is neither dark nor evocative of leave-taking. It in now way betrays the situation in which Pfitzner found himself. Except for the first few measures, the winsome and charming themes of the first movement seem to have little to do with the tempo titling, Allegro con passione. In the second movement, Quasi minuetto, Pfitzner gives a very fast tempo marking with the quarter note equalling 138. The music could be styled an updated version of the classical minuet, except for the fact that Pfitzner inserts a waltz section in the middle of it and then places a stretto at the end, something one never finds in Haydn or Mozart. In third place is a Rondoletto, allegretto, mostly in the late Romantic style except for some startling modulations which surprisingly work rather well. Pfitzner combines, at least on paper, the fourth and fifth movements. The fourth, Semplice, misterioso, is a kind of one-part song, interrupted by an intermezzo. It leads without pause to the finale, Comodo, which stands out for the solos given to the bass. Many of the themes from the earlier movements reappear, but in modified form, and together, coalesce to form a triumphant coda.
Hans Pfitzner (1869–1949) was born in Moscow of German parents. His father was a professional violinist and he received violin lessons from his father. Later he studied piano and composition at the Hoch Conservatory in Frankfurt. He enjoyed a long career as a conductor and teacher. His music was held in high regard by contemporaries such as Richard Strauss and Gustav Mahler. Pfitzner was an avowed opponent of the Second Vienna School with its serialism and atonal music. Instead, he sought new paths for traditional tonality. He composed in nearly every genre and is best known for his operas. He did not ignore chamber music, writing a number of string quartets, two piano trios and a piano quintet.
In our opinion, this is a masterpiece, if not the best, certainly the most appealing of his several chamber music works. It certainly deserves concert hall performance but is in no way beyond experienced amateur players who are sure to get pleasure from it.
