One of the most successful aspects of Frankl and the Lindsays' performance of Dvorak's Quintet is their sensitivity to the tempo contrasts which are a central part of the work's expressive language. This is confirmed in the trio of the third movement, which introduces scherzo material in an oblique and subtle way, then uses this as a beautifully imagined return to the scherzo; but the other movements also need a quick ear for the balance of tempos. This is well managed in the finale, and especially in the first movement and the Dumka, where the gentle impulse finds its contrast (but a connected contrast) in the central section. There is also a very intelligent interplay, in the scherzo, between the various levels of texture for which Dvorak asks: around the piano melody run at various stages a warm cello theme but also a dancing, almost edgy, fantastic violin figure that sets it off. This is most sensitively and intelligently done, and the point has been no less well grasped by the engineers. The textures in Martinu's Quintet are more difficult to clarify, and less well contrasted; but the players make the most of the contrasts between the dark opening, the grave Adagio and the somewhat insistent finale.'