Music that refuses to fall silent.

Tchaikovsky's only string sextet, completed in 1890 and named for the city where he sketched its first themes.

The finale gathers all six voices into a fugue and a headlong race to the last bar.

Written in 1907 for two sisters, a violinist and a harpist, it turns two of the most lyrical instruments into a single voice.

Mozart's 1786 trio for clarinet, viola, and piano. Tradition says he wrote it during a game of skittles.

By RCP's former composer-in-residence, whose Lament.Sing.Arise returns on Opening Night of the Silver Jubilee.

Villa-Lobos's 1950 duo for flute and cello takes its nickname from the rushing jet-engine glissando that ends it.

From Handel's Nine German Arias on poems by Barthold Heinrich Brockes: a meditation on sweet stillness for soprano, solo instrument, and continuo.

Mozart wrote seventeen of these one-movement sonatas to be played between the Epistle and the Gospel at Salzburg Cathedral.

Ravel's songs for voice, flute, cello, and piano (1925–26) set poems by Évariste de Parny, with a protest against colonial cruelty at their center.

Five short pieces from 1878 for two violins, cello, and harmonium, written for friends to play at home.

A string trio from 1902 by the young Hungarian composer and pianist whom Brahms had championed.

Shostakovich played the piano part himself at the 1940 premiere. The quintet went on to win the Stalin Prize.

The finale of Brahms's first piano quartet: a blazing rondo in the Hungarian style.