I think I have found a new friend. Immediately appealing, charming and, if not greatly original in thought or language, genial company. Some may complain, stating the obvious, that my friend is thoroughly undemanding. But is it only demanding, challenging people that command our interest and merit our friendship?

Following the disc of Molique world premieres I reviewed in the September issue, here is another selection of his chamber music to coincide with the 150th anniversary of his death. My new friend, the Piano Quartet, has three movements with a string of attractive themes and ideas. ‘Think Jane Austen’ might give you an idea of what to expect, an admix of Hummel and Mendelssohn with a sprinkling of graceful Mozart to colour the slow movement, none of whom, however, could be mistaken for the quartet’s composer.

Molique’s Op 71 comes last on the disc. If the piano is positioned slightly too far from the strings (a balance that favours the leader’s nasal up beats), the flute feels even more separated in the Flute Quintet. Considering that the flute in effect takes the place of the first violin in an otherwise conventional string quintet line-up, the balance militates against the complete success of the recording, not helped by a somewhat thin-toned flute. Yet it is hard not to take to this four-movement work (it lasts just short of half an hour) with a Scherzo of unusual structure and a catchy, puckish rondo finale.

I can’t say I was equally taken by the Introduction, Andante and Polonaise for flute and piano (13'25") or the Duo concertant for flute and violin, though they are pleasant enough. But Molique, while he is no Schubert or Schumann, deserves far more attention than he currently enjoys and his music should attract chamber groups well beyond the commercial interest in his 150th anniversary. And now back to my new friend!