Piano Quintet (Schumann) in a double fugue. This coup may have been inspired by a similar confluence of themes in the E flat quartet op. 12 of Felix Mendelssohn. Schumann's piano quintet was widely acclaimed and much-imitated. Its success firmly established the piano quintet as a significant, and quintessentially Romantic, chamber music genre. The Piano Quintet in F minor, Op. 34 of Johannes Brahms, reworked from an earlier sonata for two pianos (itself a reworking of an earlier string quintet) at the urging of Clara Schumann, was one of many significant Romantic piano quintets that show Schumann's influence and adopt his choice of
String Quintet (Bruckner) the frequent use of Sesto in the Ländler-like eighth-note of the first viola, which is due to the line of the second violin and the violoncello of the first part and refers directly to the trio in Scherzo. An airy counterpart of the first violin pushes playfully unstoppable upwards. The actual implementation theme becomes the starting point of a fugue whose theme is contrasted with a striking triplet figure. Finally, the recapitulation follows in D flat major. The coda is a jubilant conclusion. Josef Hellmesberger, on whose initiative the creation of the string quintet went back, rejected the Scherzo originally