This "who's who" of late eighteenth- and nineteenth-century music is a tribute to the merits of the piano quartet, which nevertheless tends to play second fiddle to its more glamorous trio and quintet counterparts. It therefore comes as no surprise that the person who put the medium firmly on the musical map was none other than a certain Wolfgang Amadeus Mozart.

Written in Vienna when he was arguably at the peak of his powers, these quartets - K478 in G minor (1785) and K493 in E-flat major (1786) - brim with a sparkling exuberance and vitality that characterises much of the composer's music from this period. Thankfully, the latest committal of these works to disc has been undertaken by one of today's most revered chamber ensembles who have, in turn, brought these attributes to the fore.

The three instrumentalists who combined for the Nash Ensemble's remarkable disc of Mendelssohn's two Piano Trios return here for these performances along with violist Lawrence Power, who has recently released a recording of viola concertos by Walton and Rubbra for Hyperion to critical acclaim.

Power's sumptuous tone merges beautifully with that of his three colleagues. He is a musician who possesses that surprisingly rare ability to perform both as soloist and as ensemble member with equal conviction. If there is any reservation, it is that he blends in too much when the music becomes subdued. Though quieter passages are often dominated by melodic material for both piano and violin (Marianne Thorsen in particular excels beautifully on the latter), one might have wished for a touch more of the lavish harmonies that Mozart bestowed upon the viola.

However, this is merely a minor quibble about these two otherwise outstanding performances, which offer some wonderfully absorbing music-making. Especially captivating are Mozart's sequential passages - the development section of K493's opening Allegro and the central E minor episode in the finale of K478 immediately spring to mind - to which the Nash Ensemble lend an enthralling sense of dramatic zeal. The driving interplay at these junctures gives a tangible impression that all four instrumentalists are thoroughly enjoying themselves - something that is enormously difficult to achieve with audio alone.

It is not purely during the more vigorous music that these performances succeed. The carefree, gavotte-like Allegretto finale of K493 receives a rendition of charming simplicity that is no less enthralling, whilst both slow movements are brought to life by the warm, rounded timbre of the strings. Though pianist Ian Brown's interpretations of K478's Andante and K493's Larghetto lack originality, he makes up for it with some delightful phrasing and exquisitely subtle rubato in the outer movements of both quartets. Furthermore, Mozart's cello scores, the rhythmic and harmonic bedrock for large proportions of these work, are given marvellously sensitive accounts by Paul Watkins.

Neat packaging, good recorded sound, and concise yet informative booklet notes only serve to strengthen the case for purchasing this disc. A worthy addition to any CD collection.

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