The Orion's American starts out with two distinct points in its favour: the first movement's repeat is honoured and, in faster passages especially, the playing suggests an almost tangible textural crispness. The second subject (at 1'38'') is as sweet as a nut and the gritty fugue that crowns the development section (from 6'26'') has real bite. Accompanying figures are consistently illuminated (equal stress is placed on top and subsidiary lines) and this bright, crystalline quality extends to the finale, which goes with a real swing.
I wasn't quite so taken with the Piano Quintet which, while undoubtedly musical and affectionately phrased, is a trifle fussy. Some dynamic contrasts are exaggerated and Peter Serkin's piano yields rather too willingly to the strings whenever the whole ensemble is playing at full pelt. Still, there's plenty to enjoy en route, such as the gently chugging string lines 4'09'' into the Dumka, strong, folky accents that characterise most of the finale and a Scherzo that is relaxed enough to offer an extra quota of detail.
I liked the sound of these performances, their overall style and musical presentation; but I couldn't in all honesty recommend them above their best rivals. If it's the American you're after, and the present coupling fails to appeal, then I would recommend the Panocha Quartet as the best available digital option (the coupling is Smetana's autobiographical First Quartet). The Piano Quintet is vividly served by Andras Schiff and the Panocha (in tandem with Dvorak's great E flat Piano Quartet), but if you don't mind analogue sound and fancy a bargain then I would recommend Rudolf Firkusny and the Juilliard who offer the identical coupling at budget price. The Quintet in particular is given a jewel of a performance.'