Long established as a pianist, Olli Mustonen (b1967) is increasingly active as a conductor and composer, so that anyone who responded positively to his two Nonets (Ondine, 8/01) or Cello Sonata for Steven Isserlis (BIS, 8/14) will enjoy the purposeful retrenchment of these two chamber works.

Retrenchment should not be confused with backward-looking, as the First Quartet (2016) rapidly demonstrates through the jagged eruption of its opening Impetuoso. What follows is a sequence of often speculative textures, underpinned by simmering disquiet that bursts forth in the Furioso, its tensile energy finding contrast with a lengthy Grave whose sustained intensification feels no less ‘ecstatic and mysterious’ than is indicated. The final Impetuoso surges forth with a Hungarian inflection and uninhibited energy.

Paradoxically given its chronology, the Piano Quintet (2014) seems to pick up from where the later work left off. The Drammatico e passionato first movement assembles several distinct episodes, given overall cohesion by their intensive gestural interplay and a fluidity of motion. The highlight is a Quasi una passacaglia whose variations both elaborate on and amplify the theme’s harmonic and expressive implications, setting up an emotional expectancy that the initially understated finale channels towards an ending of impulsive and vibrant affirmation.

These performances could not be bettered given Mustonen’s prowess and the collective excellence of the Engegård Quartet. The sound has exemplary clarity if lacking in warmth, and there are succinctly informative notes.