As Schulhoff enthusiasts will have come to expect, the works represented aren't at all uniform in style. The early quartet is prematurely neo-classical. It was conceived in 1918 when the composer was still serving in the Austrian Army.
The German group certainly gives it their all.
Taut and tough, they seem intent on radicalising the discourse whether through a heightened response to its finer points or a profound understanding of the Beethovenian models that lurk beneath the surface invention. As a result, the Quartet emerges as a witty, substantial piece.
The string Sextet was completed six years later but sounds quite different, its Schoenbergian first movement well integrated with the more eclectic idiom of the rest. Whatever the outward manner, Schulhoff's rhythmic phraseology is metrically conceived. Even if you already know the Sextet the Petersen makes a plausible first choice. The aggressive communication of their playing is emphasised by the bright, not quite top-heavy sound balance.
The Janácek-Bartók-Ravel axis of the Duo is equally well served. The Sonata for solo violin (1927) is at least as interesting as similar works by Hindemith. A thoroughly distinguished issue by an ensemble seemingly incapable of giving a dull performance.