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The New Englander Amy Beach (1867-1944) – prodigy pianist, self-taught composer – lived a life steeped in Brahms, Wagner and Debussy. Befitting her allegiances, her F-sharp minor Piano Quintet (1907) is a symphonic half- hour of fibre, passion and expressive intensity. Harmonically vibrant sonorities dress each melody, reaching an apotheosis in the finale underpinned by fugue.

In Florence, the Brazilian Henrique Oswald (1852-1931) came into contact with the Liszt-Wagner circle, notably the pianist Jessie Laussot. His Piano Quintet in C major (1895) is a muscular affair, Mendelssohn and Schumann lurking in the wings, the French school standing by (Saint-Saëns behind the scherzo). A fest of virtuoso pianism and imaginative string writing, its organic construction, spiritual depth (Adagio) and driven energy ( finale) make its absence from the repertory mystifying.

Two premiere recordings – a sweet-toothed Brazilian Poema by Marlos Nobre (born 1939), and Beach’s early violin Romance (1893) – complete the album: songful, untroubled cameos to while away an evening.

Clélia Iruzun is a sterling advocate with impeccable phrasing, tone and timing. She digs deep, her sensual bass, glowing treble and cantabile mid register enhanced through some particularly fine sound engineering (Oscar Torres). Tight playing, too, from the Coull Quartet, pursuing colour, tension and musical debate with alacrity.

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