The two works recorded here come from different periods in Dvorvák’s career. In the String Quintet in G he dispenses
with a second viola, instead placing a double bass beneath the single cello, but textural richness is not the composer’s
aim: one can listen to passages of the work without sensing any pointed differences from quartet texture.

Similarly, the success of the Piano Quintet in A rests on its happy reconciliation of forces. Dvorvák’s early attempts at
composing for the piano had been hampered by his own lack of familiarity with the instrument, but in this work he
achieves a remarkable fluency, with five instruments operating as consistent equals and in harmonious unity and
balance.