In 1959, the Dave Brubeck Quartet released an unusual piece in the meter of 9/8 called “Blue Rondo ala Turk” on its groundbreaking album “Time Out.” The piece was an adaptation of the famous “Rondo alla turca” from Mozart’s Piano Sonata K. 331, but it was not the first such transcription. Franz Anton Hoffmeister beat the jazz quartet to the punch with his Flute Quartet in A major, which predates Mr. Brubeck’s piece by around 160 years. Monday evening, the Jupiter Symphony Chamber Players featured Hoffmeister’s work on an intriguing program of rarities presented at the group’s summer digs inside the Goldman-Sonnenfeldt Auditorium.

Flutist Barry Crawford introduced this rendition with a few brief remarks, pointing out the ubiquity of the original’s main theme as a favorite ringtone in today’s cell phone saturated society. In fact, the entire sonata is quite well known, especially in this Mozart year, so Mr. Crawford and friends (Lisa Shihoten, violin; Eric Nowlin, viola, and Andrey Tchekmazov, cello) faced the challenge of making this music sound fresh.

They accomplished their goal with intelligent phrasing and creative accenting. Bestowing the main thematic material upon the flute allowed for a more seamless lyrical line than the staccato urtext of the Mozart. Mr. Crawford took pains to alter the punctuation of his enunciations, introducing a breathy quality reminiscent of the signature smoky tonguing of Mr. Brubeck’s alto saxophonist Paul Desmond.When reprises allowed Ms. Shihoten to double the part with the flute, the result was a lovely juxtaposition and a lively singing tone.

As a curtain raiser, the strings, minus Mr. Crawford, offered Mozart’s own transcription of the fugue from Bach’s Well-Tempered Clavier, Book II, No. 14, preceded by an adagio of Mozart’s own. These two pieces evoked simpler days, when great composers made a good part of their living arranging each other’s music for home enjoyment.Hoffmeister was not just a friend of Mozart, but also one of his publishers.The Flute Quartet was definitely a business deal.

The program also featured an early piece of chamber music by Alexander Zemlinsky.An integral part of the musical universe’s inner circle, Zemlinsky was a highly respected pedant who influenced the most important composers of his day. In addition to his closeness to the Second Viennese School, he was also the composition teacher and was likely one of the lovers of Alma Schindler, who married Gustav Mahler, the nucleus of the Viennese musical atom.

Though ethnically Jewish, Zemlinsky was born into a family already converted to Protestantism. Curiously, like Mahler, he eventually became a Catholic as an expedient way to land a good musical post in Imperial Vienna. His Trio in D minor for clarinet, cello and piano, a very early work, sounds like a journey through the shtetl, the Vienna woods, and Bohemia.Here, Zemlinsky is closely in touch with his Semitic roots.

Clarinetist Vadim Lando and pianist Roman Rabinovich joined cellist Mr. Tchekmazov for this rocky performance, which was not quite up to the Jupiter’s normal standards. Mr. Rabinovich, a student at the Curtis Institute, exhibited a bit of rhythmical equivocation, and didn’t supply the necessary bottom for his mates to embark on flights of Central European fancy.Transitioning between clarinets for the middle andante caused Mr. Lando intonation problems, although he righted the ship quickly. Considering how seldom this trio is performed, it was a pity this version lacked gusto.

For this occasion of rarities, the Jupiter players also performed Beethoven’s Piano Quartet in E flat, WoO36, No. 1, written when the composer was just 15. Over 200 works by Beethoven were never assigned opus numbers and if these pieces, designated in the catalogue as WoO, had been written by another composer, that gentleman would be in the pantheon of the immortals as well. The collection includes detritus, minutiae, juvenilia, and mature works of every stripe.

The Quartet has all of the elements necessary for a powerful statement, but Mr. Rabinovich proved himself a pococurante — perhaps he thought the piano part was a bit too simplistic.This resulted in a number of missed entrances and exits and in an unusual habit of being almost an entire beat behind on a regular basis. Mr. Rabinovich’s teachers should introduce him to the concept that less material requires even more concentration. Or, as George Szell used to say, “Rests are not for rest!”