The St Petersburg (formerly Leningrad) Quartet have drawn sustained and widespread praise for their fresh approach to Shostakovich’s quartets, their survey concluding with the sunlit No 1 (1938), paired with the closely contemporary Second Trio (1944) and Quintet (1940). The programme works well: the Trio and Quintet are masterpieces in their own right – the com- poser’s finest chamber works outside the quartet cycle – and form the bridge be- tween the First Quartet and the cycle proper.

The Quartet has much to offer in its modest 14-minute design. The gentleness and expressive optimism – contrasting starkly with the later quartets and perhaps deriving from the composer’s pleasure at fatherhood – make an intelligent contrast to the sombre gravity of the Trio and the glorious, abstract drama of the Quintet, still to my mind Shostakovich’s finest chamber utterance.

I like the St Petersburg’s relaxed way with the Quartet, very different to the Emerson’s more driven account or indeed memories of the Borodin (nla). In the Trio, there are none of the technical shortcomings that marred the Wanderer Trio account, or the overwrought Kremer/Maisky/Argerich live 1998 account. Some may find the Scherzo’s tempo has less zip here than others (though the marking is Allegro non troppo) but there is no loss of impetus. The Quintet flows along beautifully and in both Igor Uryash is exemplary, striking the right balance between the demands of soloist (as at the start of the Trio’s Largo or Quintet’s Prelude) and chamber player. He and the St Petersburg provide a characterful if underpowered interpretation of the quintet. Hyperion’s recording is beautifully balanced and crystal clear. A very fine achievement all round.