Rubin Goldmark, the nephew of the famous Karl Goldmark, numbers among the countless composers from the last third of the nineteenth century whose names are no longer remembered today. While his uncle continues to enjoy a place in the concert world, Rubin Goldmark has not been granted this fate. Following the completion of his studies the twenty-one-year-old Goldmark assumed a teaching post at Jeannette Meyers Thurber’s National Conservatory of Music in Manhattan, where Dvorák, his earlier teacher, was the director. His melodically so very rewarding Piano Trio is to be situated in the direct Brahms succession and even that of Schumann. Viennese, Bohemian, and lively popular tones are clearly evident in this composition, which nonetheless freely develops without strictly adhering to potential models. In the Piano Trio composed by Felix Woyrsch in 1919 we repeatedly encounter elements offering glimpses of the twentieth century. However, this composition essentially remains a motivically concentrated, contrapuntally rich piece of work born of the spirit of the turn of the century. Woyrsch’s Four Songs op. 2 number among the songs for voice and piano with an obbligato solo instrument that have been sufficiently known in music history at the latest since Franz Schubert.