Was it the power of suggestion – knowing Whitman has written two operas – that made his Piano Quartet seem far more theatrical than chamber music is usually allowed to be? In this extremely attractive study in polarities, the piano charmingly dominates in what seems like a solo sonata with peripheral string commentary. Then, the string trio takes over with spare, smart keyboard contributions. Collage effects in the second movement behave like stage characters, and the eventful third movement happily recalls Faure’s piano quintets with alternating succulent harmonies and unison strings.
