Beethoven modelled his Quintet on Mozart’s Quintet, K452; however, the present coupling with Spohr’s A minor Septet suggests comparisons with romantic models rather than classical ones. Perahia and the ECO eloquently express the music’s genial mood, presenting its civilized discourse with abounding charm and classical elegance. All the instruments are excellently balanced, and the ensemble is beautifully packed in Sony’s superb, naturally lit recording, highlighting the piano’s brilliance. In the present instance, Pascal Roge and London Winds produce a fuller, more robust sound, with the piano tone given a softer edge that emphasizes the music’s romantic tendencies. Effusive phrasing and bold projection throughout imbue the first movement with greater dramatic potency, give the second movement increased warmth and expressive intensity and bring the work to a more exuberant close in the finale.
Spohr’s Septet (composed in 1853), was his last chamber work with piano, and its unusual instrumental forces inspired the composer to write music of astonishing freshness and vitality, which is conveyed in this performance with infectious enthusiasm and charm. The opening Allegro has a persuasive romantic sweep; the lush autumnal atmosphere of the “Pastorale” is vividly evoked; the Scherzo’s ‘orchestral’ richness is effectively captured, with the finale culminating in concerto-like brilliance.'