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Raymond Tuttle
Fanfare, July 2019

This is polished, well-balanced playing that displays a fine sensitivity for the period style. The ensemble was formed in Valencia (where this CD was recorded) in 2014, and it has made strong progress in a short time. One wishes that there were more works written for this combination of instruments! © 2019 Fanfare Read complete review



Terry Robbins
The WholeNote, May 2019

There’s more string quintet playing—this time with a double bass instead of a second viola—on Georges Onslow String Quintets Vol.3, with the Elan Quintet playing String Quintets No.28 in G Minor Op.72 and No.29 in E-flat Major Op.73 (Naxos 8.573887 naxos.com).

It’s really lovely music—warm, inventive, humorous and extremely well-written—by a musician who clearly knew his craft. The Elan Quartet’s performances of these charming works are highly enjoyable. © 2019 The WholeNote Read complete review



Lynn René Bayley
The Art Music Lounge, December 2018

The music presented herein is actually quite good for its time and place, solidly written and engaging without being saccharine or maudlin. Although tonal, he introduced several little key changes within each movement of his works that add piquancy and interest, and it is to the Elan Quintet’s credit that they play with energy and commitment.

…Played well by the Elan Quintet and recorded with a good, clear, forward sound. © 2018 The Art Music Lounge Read complete review



Jean-Yves Duperron
Classical Music Sentinel, December 2018

Nicknamed the “French Beethoven”, Georges Onslow (1784–1853) was a French composer of British descent. There’s an ease and fluidity to his music, especially the flowing interplay between instruments that belies the fact that Onslow never really wanted to be a composer, but did this mostly so that he could play chamber music with friends. © 2018 Classical Music Sentinel Read complete review



David Denton
David's Review Corner, December 2018

Thirty-four string quintets were among the works of the Anglo-French composer, Georges Onslow, this the third volume in the project to record a complete cycle. With much inherited wealth he composed having little concern as to the success, or otherwise, of his works. The series of Quintets started out life as being for two violins, viola and two cello, but it hearing, at a public concert, the great double bassist, Domenico Dragonetti, as a last minute replacement for one of the cellists in a public performance, Onslow was so impressed by the added warmth and sonority, he went back to those already composed and fashioned them to include the bass. The present two Quintets came from the latter part of his life, and, placing them in a time-frame, they came after the death of Beethoven, yet were still in the style of Mozart. Forget that aspect and simply enjoy these two quite lengthy works—the Twenty-eighth extends to thirty-two minutes—and enjoy the geniality of uncomplicated music making, the rustic Menuet being a particular pleasure. It seems strange that they should be numbered consecutively as they are so different, the twenty-ninth having an underlying feel of sadness in the dominating opening movement, and that continues in the second movement, though the notes with the disc describe it as a ‘light-hearted and good-natured piece’. In both works Onslow calls for a degree of technical expertise, and we thankfully have the young Spanish quintet, Elan, as the hugely talented performers. Add to this a quite superb sound, the instruments perfectly balanced, and I do urge you to discover these ‘World Premiere Recordings’. © 2018 David’s Review Corner



Records International, December 2018

Two works from c.1847: No. 28, with an especially beautiful Adagio with more than a trace of the influence of Mendelssohn, combines Baroque poise with expressive Romantic writing, while No. 29 is light-hearted and good-natured, with hints of Schubert in its melancholy lyricism and unexpected key changes. © 2018 Records International





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