These performances of Dvorák"s two beloved chamber-music works are impeccable in technique, radiant in tone, unanimous in spirit, and deeply expressive. The violinists, who are brothers, alternate on first fiddle, giving the Quartet two equally strong leaders. The violist and cellist are wonderful, and Serkin fits into the group like a glove on the hand. It has been said that Dvorák"s American compositions were influenced by African American and Indian folk music, but the Quartet, written in Iowa, sounds no less Czech than the Quintet, written in Bohemia, and, despite its general cheerfulness, has a strong tinge of homesickness. The players bring out its wistful nostalgia, which rises to passionate intensity in the slow movement, as well as its lightness, charm, and exuberance. In the Quintet, the balance between piano and strings is admirable; every line stands out clearly. The players" tempos are flexible, their liberties always dictated by expressive needs. They never rush, taking time to linger lovingly at magic moments; the tricky rhythms work perfectly. As they"re completely at home with the Czech idiom, their deep affection for the music comes through in their warmth, emotional involvement, and unfailing expressiveness. --Edith Eisler