By way of the imposing nature of the resources – string quartet and piano – the approach to the genre is inevitably one of an epic nature, almost orchestral in its bold sound and texture, fluctuating between the intellectual demands of the symphony and the ‘competition’ of the grand concerto. Beach’s magisterial work, with its hugely demanding piano part, its plethora of thematic material and its coherent handling of form, meets both these conceptual demands (and which Ohlsson and the Takács Quartet serve with vivid colours and a vital energy). … The slow movement, one of Elgar’s greatest, is played with true profundity. … Ohlsson and the Takács are to be congratulated for the warmth of their interpretation and for their ability to encompass the challenging range of Elgar’s complex moods.  Jeremy Dibble