The Calefax Reed Quintet differs subtly from the standard wind quintet; the flute is eliminated, so the oboe becomes the highest instrument, lowering the ensemble's center of gravity, making it more mellow, and the absence of the horn makes the sound more homogenous. The instrumentation consists of oboe (doubling the lower oboe d'amore), clarinet, saxophone, bass clarinet, and bassoon, and it's a remarkably euphonious combination. Members of the group have arranged a wide variety of music for the ensemble, from Ockeghem motets to Shostakovich piano preludes to songs by Duke Ellington, and in this collection, the group turns its attention to piano music by Debussy and Ravel. Much of the impressionist piano repertoire lends itself well to transcription for orchestral instruments. (André Caplet made a popular orchestral arrangement of Debussy's The Children's Corner and Ravel orchestrated four of the six movements of Le Tombeau de Couperin.) These transcriptions are idiomatic and ingenious, with a playfulness that suits the character of the works. The flexibility of the instruments allows them to give the music a springiness that would be difficult on the piano -- the Calefax's reading of Golliwogs' Cakewalk is taken at a tempo that would be virtually impossible on a keyboard. The members of the quintet play with high spirits, a smooth and unique timbral blend, and astonishing technical facility. MDG's natural sound is clean and present, with a closeness that makes the sounds of the keys audible in the quieter passages, which, depending on the listener, could be heard as an annoying distraction or appreciated as a contribution to the intimacy of the performance. ~ Stephen Eddins, All Music Guide
