And so by the time we arrive at the Piano Quintet Op. 29, we find an expressive language less plush, less confrontational, and more relaxed--even playful at times. Its whispery scherzo, for example, comes across as snatches of café music, distorted by distance and scarcely intelligible; and when this ghostly discourse yields to the boldly melodic finale, the effect is totally magical. Gidon Kremer and his ensemble dig into both works with irrepressible energy and virtuoso flair. He boldly maintains the linear continuity of the Octet's outer movements--without which the thread of the musical argument risks getting lost in the general busyness--and the players capture the colorful Quintet's delicate, Ravelian textures with unaffected ease. Vivid recorded sound caps an issue that makes a powerful case for a difficult, neglected, misunderstood composer whose love of music and sheer joy in composition is evident in every bar. [9/18/2002]