Despite several recordings, Camille Saint-Saëns’s Septet in E flat major op. 65 for piano, trumpet and string quintet of 1880/1881 remains something of a chamber music rarity because of its unusual scoring – rather like the E flat major Septet op. 20 by Beethoven. But is it “chamber music” at all?

After composing several works for piano solo, piano and ensemble and a piano concerto, Beat Furrer continues his interaction with the instrument and has composed a second piano concerto. This will be premiered in September in Geneva.

The Jena Mahler-Scartazzini cycle reaches its conclusion. In the final concert, all ten compositions by Andrea Lorenzo Scartazzini which refer to Gustav Mahler’s symphonies will be performed.

After his Violin and Piano Concertos Dieter Ammann has turned his attention to the viola and its soloistic possibilities. Two things are striking: undisguised tonality and political influences.

Philipp Maintz, born in Aachen, returns to his native city as “Composer in Focus” in a season for the anniversary of the Symphony Orchestra. The high point will be the world premiere of his orchestral work “approximate sonata”.

Václav Trojan (1907–83) studied organ and conducting at the Prague Conservatoire, composition with Jaroslav Křička and later in composition masterclasses with Vítězslav Novák. Over the course of his career Trojan worked in theatre and film and also wrote many works for children which influenced his compositional style. He wrote modern and yet accessible music, distinguished by its melodic invention, humour and convincing lyrics.

The time of doubtful passages in Adolphe Adam’s world-famous ballet is over. The new edition clarifies a great deal and returns to the original version.