with a multitude of unique themes set in motion right from the outset, enescu kaleidoscopically propels each moment of his octet—as one series of contrapuntal inter-relations contracts, another dilates. as you'd imagine, this makes for a multi-dimensionally dense sound field, and kremer and company compliments this with a suitable sort of chesty, breathless bearing-downness; combined with nonesuch's highly detailed production, i find this all deliciously nerve-racking. it reminds me of a good story where the desirable is constantly on the verge of elusion, and the undesirable is constantly on the brink of becoming; jacking your threshold for dramatic instability. once you make it through that ravishing piece, you'll step out into the sparse, uneasy terrain of the piano quintet, where the scope is drawn in and the thrust is less resolute... yeahhhh, it's a bit of a coming down after the octet. but staying with it, my brain tingles with the notion that maybe it's actually spelunking the substrata of the same conflicts that were introduced in the first piece. at least in the andante. then into the vivace and enescu's seas start to rise again somewhat. (forget "red meat faure", this is more like "bad trip faure" (but in a good way)). hear.