The American composer lived even longer than Elliott Carter, who esteemed him. Dying in 2002 aged 108, he had described a curious career path. Beginning as a futurist of extreme raucousness—among the first to use tone clusters—he retrenched in the 1920s into the late Romanticism with a bit of a bang of the works recorded here. Then came decades of obscurity, before his rediscovery as an old-age prodigy (having been a child one). The three-movement Piano Quintet and String Quartet No 2 are weighty, spirited utterances in a style hard to seize as Ornsteinian, but worth attention, especially when performed with such panache.