Franz Schubert's chamber music occupies a vital place in the Western classical canon, demonstrating both his lyrical genius and emotional depth. Though he is widely known for his lieder and symphonies, his chamber works represent some of the most profound and innovative compositions of the early Romantic era. The String Quintet in C major, D. 956, written just weeks before Schubert's death in 1828, stands as one of the towering achievements in chamber music. Scored for two cellos instead of the more common two violas, the work is known for it's rich, warm textures and emotional contrasts. The slow movement, in particular, is a masterclass in stillness and poignancy, often cited as one of the most sublime moments in all of chamber music. Schubert's string quartets trace his compositional development and deepening expressiveness. The Death and the Maiden quartet (D. 810) is especially significant, combining dramatic intensity with variations on his earlier song of the same name. The juxtaposition of lyrical beauty with stark fatalism reflects Schubert's own grappling with mortality and human vulnerability. His piano trios blend lyricism and formal sophistication. The trios are notable for their expansive melodies, rich harmonic language, and a sense of narrative continuity that hints at the symphonic. The violin sonatas (often referred to as "sonatinas") are earlier works, more modest in scope but filled with charm and grace. While not as emotionally profound as his later chamber works, they already display Schubert's melodic gift and innate sense of dialogue between instruments. The Trout Quintet (D. 667) is perhaps Schubert's most popular chamber work. It's unusual instrumentation featuring piano, violin, viola, cello, and double bass and the famous set of variations on his song "Die Forelle" make it instantly appealing. Yet beyond it's surface charm, the work demonstrates Schubert's brilliance in crafting color and contrast, blending joy and depth seamlessly. Altogether, Schubert's chamber music reveals a composer capable of exploring the most intimate corners of the human soul. These works remain essential listening, offering profound insight into the expressive potential of small ensembles. Excellent performances by the Diogenes Quartet, the Amsterdam Piano Trio and the Berlin Philharmonic Octet.

Georg Philipp Telemann (1681-1767) was-to characterize him in contemporary terms-a workaholic, thanks to which we have, amongst his 3,000-plus works, his two sets of marvellously rich Paris Quartets. SOMM Recordings is pleased to release TELEMANN Paris Quartets Volume 1: 6 Quadri, featuring leading period-instrument specialists from The London Handel Players, praised by the New York Times for their "soulful depth" and their "consummate skill and musicianship." At the height of his phenomenal productivity, Telemann held the positions of Kantor at the Johanneum Lateinschule in Hamburg; Kapellmeister to the five largest churches in the city; and Director of the Hamburg Opera. He also had obligations to the courts in Eisenach and Bayreuth. As if that wasn't enough, he embarked on an ambitious project of self-publication of his works. Amongst these were Quartets for violin, flute, viola da gamba or cello, and continuo; divided into 2. Concertos, 2. Ballets, 2. Sonatas. The first set of quartets, or quadri, was published in Hamburg - certainly by 1730 though the exact date is unknown - and such was their popularity that they were republished in Paris by Le Clerc in 1736 without Telemann's permission. It would seem that this prompted him to make a long-awaited visit to the French capital where he stayed for eight months in 1737-38. While there, he composed a second glorious set of quartets, naming his two collections Quadri and Nouveaux Quatuors. In the latter part of the 20th century, the editors of the Telemann Musikalische Werke titled the two sets collectively as The Paris Quartets, by which name we still know them. As their extended title indicates, the Quadri are not six works of the same genre. Instead, they comprise two Italianate concertos, two German-style sonatas, and two Balletti or suites of French dances, bringing together a variety of national styles. The ensemble of London Handel Players is flexible in size, consisting primarily of strings, flute/recorder, and harpsichord. The featured musicians on SOMM's first volume of the Paris Quartets by Telemann are Rachel Brown, flute; Adrian Butterfield, violin; Gavin Kibble, viola da gamba; Sarah McMahon, cello; and Silas Wollston, harpsichord. The London Handel Players' critically acclaimed discography for SOMM includes five discs of Handel chamber music: his Trio sonatas Opp. 2 (SOMMCD 084) and 5 (SOMMCD 044); his Complete Sonatas and Works for Violin & Continuo (SOMMCD 068); and two volumes titled Handel at Home (SOMMCD 055) and Total Eclipse, Handel at Home Vol. 2 (SOMMCD 0676).   David Vickers, reviewing Handel at Home for Gramophone, wrote, "Their consummate musicianship is consistently delightful: sparkling violin-playing (often with two players in perfect unison) and superb continuo contributions are just as impressive as Rachel Brown's poetic flute solos."

Instructing and educating Christians on the one hand and delighting their minds on the other, so that the words and truths of the Holy Scripture would be anchored deeply within them - this was the purpose of the sacred cantata. No master of the Baroque era wrote more of these than Georg Philipp Telemann. He approached this seemingly 'tedious work' with such incredible imagination that his congregations could never be bored. One need only listen to the so-called French Cycle (1713-14). To this end, Vol. 4 contributes ten more first recordings. There are certainly meditative moments in both the music for Advent presented here and the cantatas written for the 'normal' Sundays of the church year; but these works predominantly feature colourful, enormously picturesque music throughout. They always get straight to the heart of the worship service's message and are still instantly appealing today.