Mozart’s Piano Concerto No. 12 in A major, K.414 is one of the most intimate and conversational of his concertos. Written in 1782 for performance in salons and smaller halls, it lends itself perfectly to performance with string quintet rather than full orchestra. Here, the piano is primus inter pares: witty, lyrical and endlessly responsive to the strings. The opening Allegro sparkles with elegance and poise, while the Andante, composed in memory of Johann Christian Bach, has a touching gravity and depth. The concluding Rondo dances along with genial charm, Mozart at his most effortlessly humane.

Frank Bridge’s Phantasy Quartet (1910) offers a compelling contrast. Composed for the Cobbett Phantasy competition, the work unfolds in a single continuous movement, its tightly woven structure revealing Bridge’s exceptional craftsmanship. Richly expressive and harmonically adventurous, the Phantasy moves seamlessly between brooding intensity and radiant lyricism. Bridge’s distinctive voice is evident throughout: luxuriant string writing, emotional directness, and a restless search for new colours and textures that point towards his later, more radical style.

After the interval, Chopin’s Piano Concerto No. 2 in F minor, heard in its 1836 published version with string quintet, places the piano firmly in the spotlight. Chopin’s orchestral writing has often been described as discreet rather than symphonic, and this chamber version highlights the work’s essential intimacy. The first movement brims with youthful ardour, the Larghetto unfolds as one of Chopin’s most poetic inspirations — tender, nocturnal and deeply personal — and the finale dances with Polish-inflected brilliance and flair.

Together, these works create a compelling journey from Classical elegance through modern expressiveness to Romantic introspection, showcasing Llyr Williams and the quintet in music of wit, depth and profound beauty.