I became obsessed with Sergey Taneyev’s Piano Quintet (1915) after hearing Pletnev, Repin, Gringolts, Imai and Harrell’s incendiary account (DG, 9/05) – winner of the 2006 Gramophone Award for best chamber recording. And with its intricately constructed thematic/motivic inter-connections and contrapuntal richness, I find new facets revealed each time I encounter this sweeping, epic score. Pletnev and co’s interpretation is special for its proselytising fervour, although subsequent recordings by Piers Lane and the Goldner Quartet (Hyperion, 10/13) and Olga Vinokur and the Martin≤ Quartet (Supraphon, 5/15) have also provided considerable pleasure.

This new account from Peter Donohoe and the Sacconi Quartet has admirable qualities, as well. I was particularly charmed by the strings’ expressive playing in the first movement’s slow introduction, and their tasteful yet effective use of portamento. All five musicians play with requisite intensity and do a terrific job in ratcheting up the tension over long paragraphs, as in the passage starting with a pounding low pedal point in the piano at 12'26". The Scherzo is taken at a relatively sedate tempo yet the playing is so light and delectably articulate that it still works. The massive climax of the Largo – a cleverly malleable passacaglia – is suitably wrenching, and it’s only in their reading of the finale that I want greater dramatic heft.

I don’t really mind that the violins can sound a little thin and wiry in high-lying passages throughout (and there are many of these); I’m bothered more by some lack of colour in the piano part. The clarity and verve of Donohoe’s playing is marvellous, and more often than not his silvery tone is a delight, but in, say, the lyrical second theme of the opening Allegro patetico (at 4'20") or in the Bachian solo early in the slow movement (at 2'04"), his playing is oddly plain.

As for the Schumann Quintet: I want more play of light and shade in the first movement’s central development section; the Scherzo lacks vivacity, sounding almost étude-like; and while I appreciate the earthiness this fivesome bring to the finale, it’s also earthbound at times. There are lovely moments, yes, but heard alongside the feisty live recording by Argerich and friends (Warner Classics, A/02) or the magical account by Jonathan Biss and the Elias Quartet (Onyx, 12/12), this newcomer seems under-characterised.

If you’re obsessed with the Taneyev Quintet, as I am, this beautifully engineered Signum recording is certainly worth hearing; if it’s new to you, I’d start with Pletnev et al and go from there.