The Quartet, Op.13, written by a gifted 18-year-old, let us discover an astonishing ‘music of happiness’ in which,
according to Pierre Marie Baillot, one would again find the ‘joyous laughter of the elves of A Midsummer Night’s
Dream’, whilst denoting a precocious assimilation of the avant-gardist conquests of the recently-deceased
Beethoven. The Quintet with two violas (1845), with its pre-Brahmsian breadth of phrase, alternates splendours
close to the Violin Concerto, Op. 64 and autumn strolls and reveals the malaise of an overworked creator who did
not have the time, before his premature death, to revise the finale, which he did not like.