Juliusz Zarebski (1854-85) was a renowned pianist and composer, garnering high praise from Liszt (who took him as a pupil) and Borodin. His tragedy was that, although born in the same year as Janácek, he predeceased both Borodin and Liszt. His reputation today rests on his marvellous G minor Piano Quintet, composed shortly before his death from tuberculosis (CPO, though, have just released a disc of some of his piano music).

Liszt’s influence is pervasive, not least in the music’s formal assurance and freedom. It was a novel stroke to start the Scherzo and the almost-rondo finale with the same theme but such is the verve of the writing there is no hint of lack of invention. The finale draws all the thematic threads together, redeveloping material from the preceding movements, especially the sunny, opening Allegro. The newly reformed Warsaw Piano Quintet give a superbly rounded account, catching its late-romantic fervour as well as, in the later movements, its forward-looking aspect.

Born half a century later, Grazyna Bacewicz (1909-69) achieved fame as a violinist and composer though again her music is not as widely known as it deserves. The first of her two piano quintets (1952) is in the lively folk-derived style required of Polish composers by the regime of the day. Bacewicz made a virtue of this restriction, balancing neo-romantic warmth with classical litheness. It is a winning combination, winningly delivered by the Warsaw Quintet.

Polskie Nagrania recorded Bacewicz’s quintet in 1969 (reissued on Olympia – both nla) with the same ensemble though viola-player Stefan Kamasa is the only common member. Dux’s recording has the greater depth and warmth, though as performances there is not much to choose between them.