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Jessica Duchen
BBC Music Magazine, September 2019

Receiving their world premiere recordings, the F minor String Quintet No. 10 of 1827 and the E flat major Quintet No. 22 of 1836 are lucky to have the Elan Quintet at their service. Their playing evokes the spirited conversation, lightness of touch and soulful hinted darkness in the Schubertian, early-Romantic E flat Quintet, as well as the vivid interchanges of the more dramatic and Beethovenian-at-a-tangent F minor. The Elan players’ sympathy for the music smiles out of every bar. © 2019 BBC Music Magazine Read complete review

Jerry Dubins
Fanfare, May 2018

… strongly recommended for outstanding playing by the Elan’s members, and without hesitation, to those whose appreciation for Onslow’s music exceeds my own. © 2018 Fanfare Read complete review

Gil French
American Record Guide, January 2018

The Elan Quintet, founded in Valencia in 2014, is certainly international, with last names like Quesada, Iancovici, Hu, Tsirin, and Baker. Their ensemble and musicianship are excellent. © 2018 American Record Guide Read complete review on American Record Guide

Robin Stowell
The Strad, December 2017

The Elan Quintet, comprising members of the opera orchestra of Valencia’s Palau de les Arts, performs Onslow’s version for string quartet and double bass with unanimity and well-blended sonority. These players identify well with the orchestral breadth of the Largo introduction, and show poise and grace in the outer sections of the second movement, contributing some crisp conversational interplay. They articulate the contrapuntal complexities of the Menuetto with spontaneity and refined detail, and perform the animated finale with expressive lyricism and exuberant virtuosity. © 2017 The Strad Read complete review

Phil Muse
Audio Video Club of Atlanta, December 2017

In these recordings, we have the sparkling performances of the Elan Quintet, consisting of Benjamin Scherer Quesada and Lelia Iancovici, violins; Julia Chu-Ying Hu, viola; Dmitri Tsirin, cello; and Matthew Baker, double bass.

Onslow’s penchant for tossing a chromatic melody around among the players in a light-hearted way is quite evident in the Scherzo. The Adagio relies on tenor-range melodies for its effectiveness and strikes a surprisingly mournful mood in the central section. © 2017 Audio Video Club of Atlanta Read complete review

Richard Hanlon
MusicWeb International, November 2017

…for the music: I feel that it really does have something to say. Onslow writes so naturally for the quintet.

[Elan Quintet’s] enjoyment of this music is palpable and contagious. © 2017 MusicWeb International Read complete review

David Barker
MusicWeb International, October 2017

…[Elan Quintet’s] intonation and ensemble is flawless, and the tempos and dynamics seem to be apposite. © 2017 MusicWeb International Read complete review

David Denton
David's Review Corner, September 2017

Summarising the opening of my review of the first volume, Onslow was a ‘gentleman’ composer who inherited such wealth that he could spend his life composing without regard to the success of his works. That made him hugely prolific in every genre including seventy works for string quartet and quintet. Originally written so that they could be performed by two cellos, it was when the great double bassist, Domenico Dragonetti, became a last minute replacement for one of the cellist in a performance of an Onslow quintet, that the composer was so impressed, he set about rewriting his previous quintets—and all of his new quintets—for that combination of instruments. Coming from the middle part of his career, the Tenth from 1827 has Mozart in his most genial mood as its parent. The result is a work of ready attraction, that really should be in the standard chamber music repertoire, its finale clothed in pure vivacity. Beethoven was dead by the time of the Twenty-Second from 1836, and a more serious aspect had invaded his scores. The result is in a measured mode, particularly in the extended outer movements—the score lasting over thirty-five minutes, with a scherzo that is magical. Had it carried the name Mendelssohn it would be a standard part of the repertoire. Throughout the disc, both works being ‘World Premiere Recordings’, you have the impression the Elan Quintet, which includes a double bass, have felt they are in the presence of masterpieces and have provided excellent performances. The sound quality is outstanding in its balance and clarity. Very strongly recommended. © 2017 David’s Review Corner

Records International, September 2017

This series continues with two works for string quartet and double bass: No. 10 (1827) reflects Beethoven’s influence, its Sturm und Drang elements revealing a masterly balance between the stable and unpredictable, and No. 22 (1836) lively and playful, offers an almost Schubertian songfulness. © 2017 Records International

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