Each of David Post’s superbly written new three-movement quintets adds music of a richly imaginative nature to the repertoire. His Concertino á cinque for clarinet and strings has a retro post-war American feel that recalls Ingolf Dahl’s Concerto a tre from 1946, mixed with the inevitable strands of Brahms’s Clarinet Quintet. The composer ‘had in mind a rather light mini-concerto’ and in fact each of the five players has substantial solo riffs. After an angular modernist opening, the first movement features a jaunty American march leading to a series of gentle narrative adventures. The second movement opens with a long clarinet solo before creating a luminous atmosphere without a strong melodic imprint. In the busily engaging third movement, clarinettist Ludmila Peterková sings wonderfully while throwing in casual virtuoso licks; a central prayer-like section features exquisite cello solos. I was sorry it was over so soon. Post’s Piano Quintet, commissioned for Simone Dinnerstein and the Hawthorne Quartet, is a more serious affair. It is based on the music of three composers who died in concentration camps: acknowledgement of how ‘their powerful musical ideas contain living seeds that can grow in new, transforming directions’. The first movement, for Gideon Klein, with pianist Jan Du≈ek in full throttle, introduces a jarring emotional aesthetic charged with lyrical outbursts. The second movement, for Pavel Haas, is constructed with Beethovenian ingenuity and care before dissolving in absurdist whoops and hollers. The third, for Viktor Ullmann, ends in an affirmation of hope and beauty. The powerful, clear recordings were made at the Martínek Studios in Prague and benefit from increased volume.