Dvorak: Piano Quartet No. 2 in E flat, Op. 87

“a wealth of clever detailing emerges from this quartet and guest violinist Alexandra Wood. The tones chosen are understated, the articulation feathery, dry or dewy. This is Dvorák played not as a gifted naïf but as a sophisticate, subtle and assured.” The Independent on Sunday, 13th May 2012

“performances that are finely honed and full of quicksilver playing, alert to every nuance in Dvorak's writing...Well blended, but with a strong guiding hand in the shape of the pianist William Howard, they bring a nice intensity to the Dumka's opening, and a sparkling athleticism to the 'vivace'...Oozing charm from every available duct, [the song transcription] makes a delightful end to a fine release.” International Record Review, June 2012

“The Schubert Ensemble are not only adept at delivering the melodic side without an ounce of sentimentality, they show a strong appreciation of the inherent drama that energies these works, particularly in the Piano Quartet...As a whole these excellently-recorded performances lead a well-populated field.” BBC Music Magazine, August 2012 *****

“Happily, the Schubert Ensemble meet Dvorak on his own terms; no mean feat given the previous dominance in this repertoire of home-grown musicians. The mixed make-up of the ensemble may be important in this regard, for these are emphatically not recordings made by a pianist and a string quartet...This is an unqualified delight.” Gramophone Magazine, March 2013

“These players have a natural ownership of Dvorak's music, throwing his lilting, fluid themes around with an easy charm...Hugely enjoyable.” The Observer, 24th January 2010

“These are two very enjoyable works. Hans Keller's description of the opening pages of the E flat Quartet as 'childish' is staggering – this from the leading campaigner against 'posthumous critical torture'! Childlike would be much more suitable, and this appealing characteristic is well brought out by the members of Domus: Susan Tomes's descent from incisive fortissimo clarity to pianissimo mystery in the opening bars is a delight, and fully prophetic of the kind of musicianship we're to hear. Two other unforgettable moments from this performance: the lovely return of the first movement second subject, with its heart-easing B major/E flat major modulation – very sensitive use of rubato here – and cellist Richard Lester's richly expressive solos at the beginning of the Lento.
The D major Quartet is a delightful, if not fully mature piece – it does tend to rely rather heavily on sequence and repetition. Domus makes sure we don't miss any of its virtues, but it doesn't force anything: the timing in the magical opening shift from D major to B major is finely judged, and Dvorák's wonderfully effortless melodies are affectionately shaped and shaded; admirable too the way Susan Tomes finds so much beauty in what often looks like conventionally decorative piano writing. In general the sound is very pleasing, intimate enough to draw one right into the performances without being intimidating, even in the somewhat histrionic second theme of the E flat Quartet's Lento. A richly rewarding disc.” Gramophone Classical Music Guide, 2010

“This is real chamber-music playing: intimate and distinguished by both vitality and sensitivity.” Penguin Guide, 2011 edition

“The Beaux Arts Trio plus Walter Trampler deliver a fine performance, with their typically excellent ensemble balance and a particularly flowing and cogent account of the magnificent central variation movement [of the First Piano Quartet]” Classics Today