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Elgar’s late A minor Piano Quintet (1918-19), like the Cello Concerto, is the autumn/spring music of Fittleworth fields and West Sussex woodlands. It’s a wondrous, enduring score, vividly and emotionally conveyed in this new recording from Garrick Ohlsson (power and nuance) and the Takács Quartet (intensity and vigour). Twilight European Romanticism and ‘England’s green and pleasant land’ are involvingly evoked, with a time-suspended slow movement that’s unmissable.

Their structurally charged account of Amy Beach’s Brahmsian pre-war Piano Quintet in F-sharp minor (1907), hot on the heels of Clélia Iruzun and the Coull Quartet (Somm), deals equally in dramatised gestures and elevated passions – here viscerally charged, there ruminatively poignant. The D-flat Adagio stimulates interaction of high order, its beauty returning more than once in the valleys of the finale. With Ohlssohn in concerto mood and the Quartet projecting orchestrally – at one in meeting the music’s onward drive, climaxes and aftermaths – this is distinguished playing. Whittled down to fine-line choices, Iruzun’s warmth and nostalgia, magnified through Somm’s velvet recording balance, possibly ‘speaks’ more – but there’s not much in it. Both versions are committed, to be indulged.

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