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I'd insert early 1800s (unless you mean the decade). Italian chamber music toward the end of the 19th century- or even after 1860 or so, judging from manuscripts available online- continues a tradition of good melody with, in some composers, a serious interest in working-through (Durchführung, to adapt a term).*

*(I mistrust the word "development"; give me a "fantasia-development" that doesn't actually quote any of the movement's themes over a "developmental" repetition of themes that halts the piece in its tracks and misses the -dramatic- point of what the middle section's actually supposed to do- I'm looking at you, Dvorak symphony 9 finale e.g.- any day.)

While some early Myaskovsky (including parts, but not all, of his lovely and passionate 2nd symphony, and maybe some of the 3rd as well) makes me think of Scriabin's symphonies, symphonic Scriabin doesn't make me think of Wagner in the same way. (There really are composers who do, though...)

That's what I'd expect the composer of his two string quartets (both late works) and 2nd violin and cello sonatas (which I enjoy- I definitely prefer the 2nd violin sonata to the first, by a lot- but are somewhat "spare" by comparison) to sound like on the whole?...

Thanks for even this lukewarm recommendation and interesting and unfortunate history of choices - I feel inclined to at least sample something of his, not having heard of composer or work.

Given that Enescu's (imho amazing) octet dates from only about two years after that 1898 symphony (and the octet, in turn, maybe 5 years before the better-known/published E-flat symphony) it was, I think, a good creative period in his life... (which is not a statement of the relative value of his music between periods- that's not how I mean the statement.)

I wasn't volunteering to reconstruct the scores from the performances, lacking those skills, but if anyone ever is, the more source material (than just one performance) they have to work with, the better.

You are more willing than I to cut a critic slack.

I also don't see score or parts for free of Op.8 online (which is fair enough; IMSLP tries to block free download outside of regions where the music is in copyright- EU/UK, in this case, since he died in 1960, and the music was first published-- ooh, not until 2023? That explains A LOT...)--  but I do see them for sale, with the first page of each movement visible. (-If- - if - it was first performed long enough ago then the 2023 publication date matters less- except in the US where that doesn't matter! - though the date of death of course still extends copyright to 2030-odd in UK/EU nmw.) (A little like the US copyright state of a number of Pejacevic's works which were not published until the 2010s- for example.)

I see that it dates from 1905 (14 years earlier than his apparently slightly-better-known A major quartet Op.50). Haven't heard either, don't know if the Op.8 has been recorded- , though I see a video recording of the A major quartet and of piano pieces (Op.16) closer in time to the Op.8 quartet on YouTube - and here's an excerpt from his Op.6 bagatelles for piano.

In July 2024, according to Presto, a disc of Enrico Bossi's 2 violin sonatas performed by Emmanuele Baldini and Luca Delle Donne will be issued on Naxos. (I know offhand of only one other recording of these two works together.)

Heard a lot of grumps on Facebook about the less-classical concerts and pieces in these Proms, but I'll say that my opinion of the grumping can be summed up along the lines of wanting to have cake and eat it too, what with arts funding having been slashed, one, and nothing coming from nothing, two...

so they missed her cello sonata, published in 1949, weird... and available on the recording.

Good

It may be made marginally easier if someone somewhere taped those other two broadcasts you mentioned in 2016 (which I assume no longer exist as master tapes?)

on amazon music only the track names are listed, which makes having the back cover photo from jpc convenient...