Most of us have probably woken from our nightly slumbers trying to recall a fairly exciting dream-the details now hazy-but with a frantic chase rather more vivid.

Well that is how I felt after hearing the Schubert Ensemble’s brilliant account of Enescu’s Piano Quartet No1 in D, op.16.

It is a remarkable score, and one for which the players have enormous affection-so necessary considering the virtuosic hoops they must negotiate.

The music begins low on the piano and soon takes flight; almost a fantasy, where the dreamscape runs wild. And that ambience is just as strong, though much calmer, when the cello introduces the nocturnal Andante enclosing a compulsive climax.

The finale’s chordal opening brings a vigorously animated dance, intensely restless and yet there is repose in woodland glades and singing birds…but not for long. And not even the encore, Dvorak’s Songs My Mother Taught Me, was going to appease that feeling.

This outstanding concert was prefaced by the only extant chamber work by Mahler; the Movement for Piano Quartet in A minor, composed when he was age16.

The flowing fingerwork from pianist William Howard and superb playing from Simon Blendis, violin, Douglas Paterson, viola and Jane Salmon, cello conveyed its intriguing depth of purpose.

Mozart is credited with the first major composition of this genre with his Piano Quartet No1 in G minor, K478.

The Schubert Ensemble’s gorgeously lyrical performance evidenced the masterful quality in every bar.