‘Treasures from the United States and Brazil’ in truth for this warmly recorded and passionately played new disc. This is the fourth recording currently listed in the Presto Classical database of Amy Beach’s substantial, Brahmsian Piano Quintet (1907) and Clélia Iruzun’s performance with the Coull Quartet is beautifully paced, with more accentuated differences in tempo than with the main rivals by Ambache (a fine all-Beach programme) and Roscoe (coupled with works by Rebecca Clarke). While this makes it the slowest available, it is not unnaturally so and allows the music more room to breathe; ultimately, preferences will come down to couplings. The 1893 Romance has no fewer than eight competitors (how times have changed in the fortunes of this composer) but Iruzun and Coull need fear no comparisons.

Brazilian-born Henrique Oswald (1852-1931) is fairly well served on CD, largely for his smaller piano pieces, not least his most popular work, Il neige (of which there are several recordings, including two of transcriptions for guitar duet). The Piano Quintet (1895) is substantial, its four movements (the sparkling Scherzo placed second) more redolent of Schumann than Brahms, so makes a nice foil to the Beach. That said, its beautiful, rather nocturnal third movement, Molto adagio, is not just the heart of the quintet but the apex of the whole programme.

Marlos Nobre (b1939) may be more familiar as a name, although his discography is less extensive, restricted largely to anthologies. The best introduction to his music is a disc of piano music recorded by Iruzun for Lorelt. Poema XXI is one of a continuing series of arrangements by the composer of a lilting melody from his Concertante do Imaginário (1989; incidentally also recorded by Iruzun for Lorelt). It’s a delight, as is the disc as a whole.