The outlines of the main themes of the first movement and finale are similar (the first four notes of the cello theme of the first movement are almost identical with those of notes two to five of the finale, and there are other similarities more easily heard).
In the same year of its composition, Brahms transcribed the second movement for solo piano, dedicating the arrangement to Clara Schumann.
Those few examples of such sextets that appeared between the Boccherini and the Brahms include a sextuor à deux violons, deux violes, violoncelle & basse from the 1780s (still later than the 1776 or so of Boccherini's Op. 23) by Ignaz Pleyel,[4]Ignacy Feliks Dobrzyński's Op. 39 in E♭ (with double-bass, and published in 1848),[5][6][7]Louis Spohr's sextet in C major (Op. 140) of 1848, and the sextet in D minor (with double bass) by Aloys Schmitt of 1852 (one other possible exception is the sextet of Ferdinand David – published in 1861 and possibly performed in 1860.[8])
^L. Auer, My Long Life in Music, New York, Stokes, 1923
^Swafford, Jan (1997). Johannes Brahms: A Biography. New York: Alfred A. Knopf. p. 216. ISBN0-679-42261-7.
^For instance, see pages 1–44 of the 1968-published Dover Publications reprint of the Vienna Gesellschaft der Musikfreunde Edition: Complete chamber music for strings and clarinet quintet (originally edited by Hans Gál). ISBN0-486-21914-3.
^OCLC78958908 Sextuor à deux violons, deux violes, violoncelle & basse, Ignaz Pleyel, www.worldcat.org