Scored for the unusual line-up of violin, viola and piano, Mendelssohn’s four-movement trio in troubled, dramatic C minor was written when he was just eleven, yet already its second movement Scherzo has some of the lightness he’d perfected by the time of his Octet, written five years later. The three repeated-note upbeats opening his finale possibly nod to the most famous of C minor works, Beethoven’s Symphony No. 5. Thirty years later, Schumann dedicated his tightly thematically woven Trio in G minor to Mendelssohn’s former Leipzig Gewandhaus assistant conductor, Niels Gade. Its own brand of darkness includes the way its warmly romantic slow movement suddenly becomes sharply turbulent. By contrast, even when Dvořák’s vibrant, Czech folk-infused Quintet of 1887 switches to the minor, the effect is either simply exhilarating, or sweetly nostalgic.