Since many members appear to have enjoyed the earlier "UC's greatest" thread (https://www.unsungcomposers.com/forum/index.php/topic,10113.0.html), I thought it might be interesting to set up a similar discussion about unsung chamber works. A couple of chamber works were mentioned by members in the previous topic, but it mostly concentrated on larger orchestral works.
Of course, the chamber music market is slightly different from the orchestral one, and decidedly more adventurous, so the difference between the "sung" and "unsung is perhaps more of a continuum. Still, I imagine that we can all think of pieces that we'd like to hear in concert but are unlikely to in our lifetime.
I don't want to leave out members Eric Schissel's (Antonio Scontrino's String Quartet No. 1 in G minor from 1899) and Tuomas Palojärvi's (Felix Draeseke, String Quartet No. 3 in C sharp major, Op. 27 from 1880) nominations from the previous topic.
Like in the previous thread, could I ask you to submit a reasoned list of three chamber works which have impressed you so much that you think the world needs to hear them more often?
I'll keep a Spotify playlist of the nominations here (https://open.spotify.com/playlist/5HvSpaq5934GtOuOxVgoAi?si=d024e3207aa74808).
Limiting this to three is even more difficult than the orchestral list -- so many choices -- but here goes:
1. Erno Dohnanyi: Piano Quintet #2 in E-flat minor, Op. 26 -- Dohnanyi's flare for harmonic daring is evident from the beginning, with the mysterious harmonies of the opening theme and the transition to the secondary material. I love the transition to the development and the subtle ending of the first movement. Then there's the easing of tension in the intermezzo, only to return to it the final movement, which masterfully incorporates the thematic material from the first movement, leading to the gentlest of endings. Just beautiful.
2. Arthur Foote: Piano Quartet in C major, Op. 23 -- It would be hard to find another work that begins in such exuberant high spirits as this quartet, an exhilaration that he maintains right to the end of the movement. There follows a striking scherzo whose rhythmic and dynamic vitality gives a new (and positive) meaning to "rock and roll", for it's exactly the impression the listener has as the music seems to sway back and forth, up and down. A gentle and lovely slow movement follows, and we finish with an exciting and dramatic finale that cannot fail to please any audience.
3. Joachim Raff: Piano Trio #2 in G major, Op. 112 -- What's not to like? We begin with a solidly composed first movement in Raff's most tuneful vein, followed by a typically Raffian scherzo of the utmost skittishness. The slow movement is a lovely theme-and-variations on what seems will be a 16-bar theme but which Raff cleverly truncates two bars earlier than we expect. Nice touch! It ends with a pull-the-stops-out finale the keeps ratcheting up the excitement right to the finish. If you want to convince a friend of Raff's ability as a chamber music composer, this is a good place to start.
This has caused me some hard thinking as well, but these floated to the top (but, like John, I could mention at least a dozen more that were close) and I'll leave the honour of choosing Raff's A minor Piano Quintet to Mark*:
1. Friedrich Gernsheim, String Quartet No. 2 in A minor, Op. 31 (1875). A stunning piece of music, in which each single note seems to be exactly where it needs to be. Wonderfully balanced in how one movement flows into the next. For instance, the abrupt ending of the scherzo 3rd movement works great to amplify the opening of the finale.
2. Walter Rabl, Quartet for piano, clarinet, violin and cello in E-flat major (1898). A beautiful work, tuneful, expressive and full of life. I've selected this also because of Rabl's skill in painting something very close to a symphonic picture with limited forces - to the point where you can actually imagine hearing the full orchestra in your mind. A true tour de force.
3. Guy Ropartz, Piano Trio in A minor (1918). The other side of the coin, a piece that is aware of its small scale. Intimate, hauntingly beautiful, sorrowful at times, but joyous at others. And an interesting mix of various contemporary stylistic influences blended into something quite individual.
* No pressure.
Again, per my post on the other thread, I'm no chamber music expert, but I know what I like and wish that, among many other works, the following had more concert airtime:
- Charles-Valentin Alkan: Grand duo concertant, Op.21. I think this is a hugely underrated work, notable especially for its dark, smouldering slow movement, a depiction of hell typical of the composer's often fecund imagination. It's taut, finely developed music that is crying out for a high-quality new recording. I could also add Alkan's Sonate de Concert, Op.47 (less unsung, admittedly) and his Piano Trio, Op.30, also highly deserving of a new recording.
- Friedrich Gernsheim: Piano Quintet No. 1 in D minor, Op. 35. Dramatic, passionate music with a fortitude reminiscent of Brahms. I was highly impressed with its premier recording at Toccata Classics, made 16 years ago, alongside the composer's Piano Quintet No. 2 in B minor, Op. 63. Both quintets have delicious, exciting finales that in themselves warrant repeated listenings.
- Charles-Marie Widor: Piano Trio in B-flat Major, Op.19. I've had a soft spot for this work since I first heard it and part-played it at university years ago. To me its lightness (not to say it is 'light music') has a distinctly French flavour (hardly surprising some might say) and, rather than displaying the darkness found in the previous two works mentioned above, has a joie de vivre that is infectious. It is hard to believe this work has not enjoyed more recordings. This, alongside the composer's Piano Quintet, Op.7, (both works including gorgeous slow movements) is uncomplicated music with a big heart that deserves more.
4c
Re the Alkan, there are three or four recordings of each but it has, it seems, been almost a decade since the last one in 2017- that is a point...
(I wouldn't at all mind a coupling of the cello sonata and a new one of Draeseke's. Different though they are, their mutual songfulness (at least in the first and third movements of the Alkan) is no small point in common.)
That's interesting re the Alkan, Eric – I hadn't realised there was a recording as recently as 2017. From the Alkan Society website (last discography update 2014?) it seems there are six recordings of the Grand duo concertant, five of them recorded between 1988 and 1991, with the latest recording release being 2012. I think the piece has popped up in Naxos and Brilliant Classics box set compilations, but I believe these were already existing recordings. Thanks for your astute observations, as ever!
Quote from: Ilja on Monday 30 March 2026, 11:05I'll leave the honour of choosing Raff's A minor Piano Quintet to Mark
I don't want to disappoint Ilja by not nominating
Raff's Piano Quintet in A minor Op.107! This is a marvellous, symphonically-scaled work with all the hallmarks one would expect from Raff's best work: harmonically conservative, but gorgoeusly melodic, rythmically exciting, cleverly constructed and a showcase for just how much variety of mood and colour can be achieved with only five instruments at his disposal. There's an epically grand opening movement, a propulsive scherzo in Raff's best post-Mendelssohn style, a meltingly lyrical slow movement and a bright, glittering finale. It's the best of Raff, and that's saying something.
Second choice is
Hans Bronsart's Piano Trio in G minor, an amazingly confident and accomplished Op.1. It's a driven, fiery piece, with a turbulent opening movement which swings from drama to calm reflection and back again. Then there's a relentlessly galloping second movement, followed by a funereal slow movement and brief, brilliant, fast-paced finale. I love its muscular, in-your-face, Lisztian quality.
Raff really was at his consistent best in his chamber music, so I make no apology for including a second work as my third choice:
Raff's Piano Quartet No.2 in C minor Op.202 No.2. Everything I've just written about the Piano Quintet could be repeated here. The generally sombre, opening
Allegro and the propulsive scherzo, with its sinuous earworm of an opening theme, lead to the lyrical centre of the piece, a heartfelt
Adagio, full of wistful regret. The finale lifts the spirits in best Raff fashion, closing a rather darker work than one might expect from him. It's a great piece.
Ferdinand Ries's Piano Quartet No. 2 in E-flat major, Op. 17, is an excellent example of his chamber music, being well-crafted, melodically generous, and positioned between late Classical clarity and early Romantic expressiveness. The first movement alternates heroic grandeur, and elegant lyricism, the second is an extraordinary Bach-like prelude leading into a poignant, reflective melody, while the third movement starts off with a theme like the melody from a popular glee, before heading off into witty developments.
George Onslow's String Quintet No. 17 in B minor, Op. 40. Highly popular in the early 19th century for it's spark, vigour, and virtuosic flair, combined with technical complexity and emotional sincerity. However, it makes my list for the appeal of the melodies, which in each movement I find capture my attention and remain with me.
Anton Rubinstein's Piano Quartet in C major, Op. 66. At times I feel Rubinstein's ambition is not quite met by his talent, but in this Piano Quartet the music is more relaxed and so succeeds better. In terms of its structure it is an ambitious piece, but the music is lyric, optimistic, and accessible. It does have energy and dramatic sweep, but with great melodic charm rather than romantic angst.
Interesting thread and choices so far. I'm giving my selections later.
Sorry if my reasons don't have the technical degree to explain in detail why each work deserves to be in my list, but here it goes:
Carl Frühling: Piano Quintet in F-sharp minor, op. 30 (1892)
Quite simply put, this is a towering masterpiece of the highest inspiration. The 1st movement alternates between decided passion and sophisticated lyricism. The lovely 2nd movement exhibits some endearing and tender melodic ideas. The 3rd movement contains the mischievous and playful writing, it's a complete delight from start to finish. And finally, in the 4th movement appears some fine counterpoint and the sparkling ideas don't cease to emerge, ending in a rousing fashion. Every chamber aficionado should check out this spectacular piece.
Othmar Schoeck: String Quartet in C major, op. 37 (1923)
One of the most singular quartets I know which doesn't sound like any other composer. The 1st movement already shows an interesting development. Some rhythmic gestures near the 9' are very cool. The 2nd movement is marked Allegretto tranquillo, but it doesn't have that countenance to me; rather, it's got a sort of nervous temperament to some extent and some effects like depicting the wind blowing. The 3rd movement features piquant pizzicato along with a sensuous and exotic air in some spots. The 4th movement is the proper slow one, providing a sense of intimacy and contemplation, whereas the final 5th one flows agile and rhythmically alive. A very original piece without a doubt.
Franco Alfano: Concerto for piano trio (1932)
This work features a strong feeling of melancholy in the 1st movement I find quite poignant and eloquent, not without its moments of tension. The 2nd movement is aptly marked Allegretto fantastico, showing plenty of gracefulness and quirky gestures. The last movement reminds me of Moeran a little. I perceive an English vibe here quite reminiscent of that geographical zone, perhaps due to the modal writing (?). An exciting movement overall. This is his best chamber composition in my opinion.
I am not sure about "more often", since there are lots of "never ever". Gliere's 1st (Op.1 !!!) and 2nd Sextets - such a shame no one took care to take care of them. Especially so because the 3rd is a jem.
And since it would be a shame to recommend something completely sound unheard, a movement from Glière's first sextet (https://www.youtube.com/watch?v=MPJIQIhiaYY) on YouTube :) (I say a shame, not saying some sort of official or unofficial rule that one can't- and I don't set 'em! But it's good that there is a performance to hear, anyway.)
Edit: and this scrolling score midi-YouTube of the finale (https://www.youtube.com/watch?v=aV-NNjUq9F0) from the same sextet (uploaded 5 years ago - Mr. Carrasco has uploaded a scrolling score performance- maybe not midi, maybe it's a "bedroom band" sort of thing- of the 3rd movement Andante-Poco agitato...), the Andante was performed live and uploaded two years ago by a youth ensemble or something?)
Right, thank you. Seen that. And that Andante live is just gorgeouse, which makes the hunger for the remainder even stronger...
There is a recording (Presto Link (https://streaming.prestomusic.com/album/7926515) | Spotify link (https://open.spotify.com/album/6G36K8pfoCCog0n7yCmUP8?si=-iA1aTsPSgSCwXDXrW4c1g)) of the Second String Sextet in C major, Op. 7, mind you, coupled with the String Octet in D major, Op. 5.
That's the third, Ilja. I remember clearly that MDG didn't finish off the cycle.
Ah, my mistake (evidently). Worth exploring, by the sound of things, and quite different from what I'd expected.
Well, Glier's chamber is very, very good: four quartets (First is marvelous), Octet and three (one) Sextets. I just can't understand how come the First and Second have not been recorded in USSR since Gliere was not only Russian but prominent Soviet composer, whose name I well remember from my music school some 45 years ago.
Berwald and Arriaga quartets. I think the Berwald septet is fairly well-known but his piano trios and quintets are not - the piano writing is sometimes a bit clumsy.
Hello! I will give my recommendations:
I think Robert Alexander's "Badener" (String Quartet Op.173a No.1) needs some attention, it's a very nice and tender piece, especially the first movement. That was the first piece of Alexander that I ever "heard"; I have a partial transcription of the entire 4 movements on MuseScore but it will be really nice if some quartet wants to play it. It was the first piece I begun to transcribe because casually it was the first score on his document collection No.1 ;D
Also, the Piano Quintet of Luis Humberto Salgado is a very good piece and I think that is the only of that genre that was composed by a ecuadorian composer. It's not actually that "romantic" but it has its romantic moments. Salgado was more eclectical than avant-garde, but his tendencies went also for that side sometimes (as when he composed the "Sanjuanito Futurista" a folk piece but using dodecaphonic series. If you decompose it from a simpler point of view, the piece is simply succesions of scales of D major, E major and A.flat major and then the second section is atonal chaos.)
The Piano Quintet by Károly Agghazy is another gem of the genre. Agghazy was a student of Liszt that was very nearer to him, Liszt even praised his ability. The complete piece is available on YouTube in 3 parts.
Agghazy also has very nice pieces as "In the foresr" Op.42