On Monday night, the Jupiter Symphony Chamber Players gave a concert in an unusual venue: the “piano salon” of Yamaha Artist Services, on the third floor of a building at Fifth and 54th.The room is very long and narrow, perfect for line dancing, I would think, and certainly for sprints.

The Jupiter Symphony Chamber Players is a perpetuation of the Jupiter Symphony, now defunct. (This was the orchestra founded and led by Jens Nygaard, who died in 2001.) It aims to purvey both the standard repertory and the unusual. Monday’s program, typically, gave us some of each.

The atmosphere was quite homey, as many of the patrons seemed to be Jupiter regulars, greatly appreciative of Mei-Ying, the “volunteer factotum,” as she is billed, who runs the series. In remarks before the concert began, she asked, “Isn’t this a wonderful performing space?” “Yes,” responded her audience. She then advised that further bathrooms were available on a different floor – very important.

You could hear musicians warming up, before they came out; and when they did emerge, they were informally dressed (which, come to think of it, is not so unusual these days – for any venue).

First on the program was Haydn’s Divertimento in G for flute, violin, and cello. Misha Keylin was the rich toned violinist, in a well-integrated group. The Scherzo – second of the three movements – had a spring in its step, while maintaining a certain politeness. On the flute, Barry Crawford piped merrily, but with Classical taste. Rafal Jezierski’s contributions on the cello were solid.

We then had something out-of-the-way, the Septet in A minor by Ludwig Spohr, a versatile and acclaimed composer of the 19th century’s first half. Not every day do you hear Spohr, and his Septet is a respectable work – but it takes an especially good performance to bring it fully to life. An okay performance won’t do. Monday’s performance was a little better than okay, not quite good.

Playing the piano was Michael Berkovsky, a student in the master’s program at Juilliard. He proved himself alert, sensitive, and musical – this was especially apparent in his accentuation and dynamics. His passagework was not the smoothest in the world, but he has time to work on that.

In the first movement, Karl Kramer-Johansen played the French horn with nuance, which you can’t often say about a French hornist – you’re lucky if they just blurt it out decently. From all concerned, this movement might have had more fun and panache.

Mr. Kramer-Johansen badly botched the opening of the second movement, but if you don’t hear some botching, you really haven’t heard French horns. In this movement – Pastorale – you could have asked for more loveliness and grace, but it was lovely and graceful enough.

The third movement, the Scherzo, was chipper, and even sly, especially from the violinist, Lisa Shihoten, and the clarinetist, Vadim Lando. And the Finale was appropriately genial and burbling.

In her introductory remarks, Mei-Ying said the concert was dedicated to Ruth Laredo, the late pianist who was closely associated with the Jupiter Symphony (and, later, with the Chamber Players). A particular memorial piece was the “Lament” by Frank Bridge, played here by two violas. We know Bridge chiefly as the teacher of Benjamin Britten, and for Britten’s “Variations on a Theme of Frank Bridge” (a work for string orchestra). But we hear Bridge himself now and then, often with satisfaction.

Bridge wrote his “Lament” in remembrance of a 9-year-old girl who died on the Lusitania. In my opinion, the piece is best played with understatement, as the “lamentation” is already written in. (I happen to think the same of Barber’s Adagio, and of Albinoni’s.) The two violists, Rebecca Young and Dov Scheindlin, played it emotionally, but not to the point of maudlinness. Unfortunately, the piece did not achieve its proper flow. It did not entrance or grab. And the ending was clumsy. In all, this did not seem a well-prepared performance.

To end the program was a beloved chamber work, Mendelssohn’s String Quintet No. 2 in B flat. The opening movement – Allegro vivace – was vigorous and cohesive. Mr. Keylin, playing the lead violin, was strong and compelling, as he would be throughout. Indeed, Mendelssohn’s quintet often resembled a violin concerto, and Mr. Keylin was perhaps a tad too soloistic – but he is skillful and personable, and it was a pleasure to hear him.

Notable about this first movement was that the group had not only the felicity you want in Mendelssohn, but also some masculinity – they did not play him airily, thank goodness.

The second movement carries the unusual marking of Andante scherzando, and the five some found the tempo juste. Their ensembleship was imperfect, but not unreasonable. The cellist, Mr. Jezierski, offered a striking sound; Rebecca Young was impressive in this department as well.

The slow movement was sensible and balanced, and the final movement – not just Allegro vivace this time, but Allegro molto vivace – was bold and exciting. This music requires no little virtuosity, and the Jupiter players provided that.

A program note informed us that Ruth Laredo had requested to play the Hummel chamber arrangement of the “Jupiter” Symphony itself; it was scheduled for December 2005. One thing’s sure: Laredo would have played with considerable heart.