Reiko Uchida, Formosa Quartet Gernsheim & Brahms Piano Quintets, Opp 63 & 34

The Emersons and clarinetist Shifrin emphasize smoothness of line and a creamy blend of sound in this polished 1997 performance of the Mozart quintet. Tempos are ideal, giving Mozart's luxurious, long-breathed yet fragile melodies plenty of time to unfold without sacrificing animation or expressive point. Understatement rules in this interpretation, which is all the more intense and poignant because of it.

Their recording of the American Quartet and String Quartet No. 13, Op. 106 (Gramophone Award - Recording of the Year), elevated the Pavel Haas Quartet among the finest performers of Antonín Dvorák's music. This position was subsequently confirmed by a recording of the composer's quintets, made with the violist Pavel Nikl, a founding member of the ensemble, and the pianist Boris Giltburg, winner of the Queen Elisabeth Competition. The album received the most coveted classical music accolades (Gramophone Chamber Award, BBC Radio 3 Record Review Discs of the Year, Diapason d'Or, etc.). While recording the Dvorák quintets, the logical idea of a Brahms album was born.

Like Mozart, Brahms was a bit uncomfortable writing string quartets, where the desire to maintain an absolutely democratic discourse among the participants often led to overly dense textures and rhythmic heaviness. The extra viola part offered by the quintet medium, however, allowed both composers to relax a bit and write music with the richness of texture they both loved, without forcing. These two works really don't seem to get the attention that they deserve, either on recordings or in concert, but they are both vintage Brahms. Fortunately, Naxos seems to be dedicated to a complete survey of the chamber music of the great composers, and they are working with a very fine stable of artists.

The music of Austrian composer Robert Fuchs attracted faint praise from Brahms, who supported Fuchs but remarked that he was "never really profound." Brahms was notoriously stingy with praise for other composers, however, and the comment is not quite fair. Yes, the Fuchs Clarinet Quintet in E flat major, Op. 102, recorded here is clearly modeled on the Brahms Clarinet Quintet in B minor, Op. 115, that accompanies it on the album, right down to the episodic series of variations that makes the finale.

Dvorák's early Quintet is here taken a little too seriously at times, but Richter and the Borodins revel in the riches of its glorious successor. Recorded live in clear but thin digital sound.

Recognised as rising stars of their generation, pianist Ashley Wass and the Tippett Quartet join forces to present two contrasting yet equally engaging British piano quintets. Conceived on a grand, expansive scale and influenced by Celtic music, with all manner of harmonic and instrumental colours exploited to super effect, Arnold Bax’s Quintet is arguably a precursor of his later symphonies.