Most recordings of the quintet fit only the first three movements on to the first side. This new one accommodates the whole work, all 38'23'' of it, leaving the second side free for as substantial a companion as the Clarinet Trio (26'30''. Since this is accomplished without any deterioration of sound, let me start with a salute to Hyperion. I should also add that the players do not omit the repeat of the first movement's exposition to make this possible (nor any others either), nor do they resort to speeding. Their tempo is in fact more leisurely than that of several recent rivals. In the faster flanking movements of the trio, a stronger forward drive might not have come amiss. On the other hand, the group allow themselves time to savour every bar to the full. The first thing that struck me about both these performances was the warmth of heart underlying them. The ensemble is excellent, with the clarinet very much one of the team, nver assuming the role of solist in a quasi-chamber concerto. Thea King may not quite rival—say—Sabine Meyer (HMV) in range and intensity of dynamics and colour, or even in sheer tonal liquidity, as the quintet's slow movement, both the dolce beginning and end and the temperamental gypsy-inspired outburst in the middle, makes plain. But her phrasing is unfailingly perceptive and stylish. In the trio I was much impressed by the sumptuous sounding cello, which at times made me feel that Brahms could just as well have called the work a cello trio. in sum, a record of very acceptable quality as well as quantity.JOC