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.

This is real chamber-music playing: intimate and distinguished by both vitality and sensitivity.