Swiss composer Hans Huber (1852-1921) – whose output included five operas, eight symphonies (recorded two decades and more ago by Sterling; 8/02 for Nos 1 and 7), and several concertos – first appeared in these pages in July 1939 as an answer to a quiz. As with the music of his older compatriot Joachim Raff, Huber’s fell out of favour after his death and has rather remained there, despite a good variety of recordings of his chamber and instrumental pieces on a smattering of different labels.

Huber’s two piano quintets are expansive and expressive works built on the models of Schumann and Brahms. The First (1893) is very well made, the opening Allegro (after a slow introduction) very contrapuntal in nature, with elements of sonata form, followed by a sparkling Allegrissimo scherzo that builds from its first few bars. This is the movement that impresses most immediately, although the heart of the work is the variation-form Adagio which, in hindsight, is finest of all. The finale seems rather over-complicated by comparison but dutifully rounds out proceedings, and one can but admire the compositional ingenuity involved. Nonetheless, the First is a work that repays repeated hearings, especially in this lively performance from Triendl and the Carmina Quartet, and their lightness of touch is key in ensuring the music avoids sounding stodgy.

The same qualities carry over into the Second (1907), more relaxed in both mood and design, incorporating folk elements in a light-hearted manner, which may explain the subtitle, Divertimento. Huber’s less conventional approach is apparent from the outset, and there is a pleasing playfulness to the invention throughout the opening Quasi fantasia that carries over into the variations of the second movement, more unpredictable, excitable even, than that of the First Quintet. The brief Intermezzo reworks a Swiss folk tune intended as a little joke for its first audience – reportedly hitting the mark. The finale (Rhapsodie) is as much medley as rhapsody but in tone aligns very nicely with the remainder of the work. Pianist and quartet are in impeccable harmony and unity in this delightful performance. While this is not great chamber music, it is very enjoyable, and with CPO’s superb sound is worth exploring.