La clarinette, instrument de prédilection de Mozart lui a inspiré deux partitions de chambre exceptionnelles, dont "Le Trio des quilles". La légende veut que Mozart l'ait conçu pendant qu'il jouait aux quilles avec quelques amis. Dans cette oeuvre, on atteint la plus haute conception de la musique de chambre : un équilibre parfait entre les parties, une grande homogénéité de timbres. Cette version interprétée par des artistes de renommée internationale est vraiment très expressive.

The first two of the three string quartets of Mendelssohn's Op. 44 were recorded by the Cherubini Quartett in 1990. With its transparent textures, elegant phrasing, and refined execution, the ensemble is temperamentally suited to this music, which seems to require those qualities above others. While Mendelssohn acquired many advanced compositional techniques from studying Beethoven's quartets, he never presumed to plumb the master's spiritual depths, and preferred instead to emulate the Classical gentility and poise of Haydn and Mozart. The String Quartet No. 3 in D major, Op. 44/1, is predominantly exuberant and optimistic, and the Cherubini Quartett delivers it in a light, effervescent style, and only occasionally touches on the deeper passions that Mendelssohn prized in this work. More serious and fervid in expression, the String Quartet No. 4 in E minor, Op. 44/2, evokes the tense emotions of eighteenth century Sturm und Drang. The Cherubini Quartett renders the work with a darker coloration and richer tone, but these shadings neither interfere with the clarity of the parts nor weigh down Mendelssohn's fleet lines.