Scored for the unusual forces of piano, oboe, clarinet, horn and bassoon, Mozart’s three-movement Quintet in E-flat major inspired Beethoven’s own Op. 16 Quintet for the same line-up. His democratic treatment of the instruments goes so far as a written-out cadenza for all five of them in the concluding Rondo. Shostakovich looked to musical tradition in 1940 when writing his Piano Quintet, for instance casting its first two movements as a Prélude and Fugue. That fugue is of a heartwrenching pathos, and while ostensibly this was a better period in his relations with the Communist regime (and the Quintet would win him the Stalin Prize) it’s possible to hear a darker, mournful subtext: in the mechanical quality to the ensuing Scherzo‘s jollity; the fragile beauty of the Intermezzo opening, with its lost-sounding circling pizzicato walking bass; even the Finale‘s Mahlerian and Viennese whispers.