By a fortuitous coincidence, the rich tapestry of concert life in New York offered three concerts in three days that each presented the work of an 18-year-old composer — and none of them was Mozart. On Saturday, the Waterville Trio played Chopin; on Sunday, the Cassatt Quartet followed with Ernst von Dohnanyi, and on Monday, the excellent Jupiter Symphony Chamber Players trumped everyone — twice — with the Piano Trio in G Major of the young Claude Debussy.

The Jupiterians play the same program in both the afternoon and the evening at the Good Shepherd Church, and this day offered an entire menu of rarities. The Debussy is a wonderful piece, filled with bountiful love of nature befitting its composition in Fiesole, Italy, in 1880. Two of the best young string players in New York — no, check that — two of the best string players in New York, violinist Xiao-Dong Wang and cellist Julie Albers, were accompanied by pianist Ilya Itin in this ravishing rendition. Mr. Wang is a leader of the superb chamber group Concertante, and Ms. Albers possesses perhaps the finest and warmest tone of all of our local cellists, abetted immeasurably by her Neapolitan instrument made by Lorenzo Ventapane in 1790. They are great advocates for this interesting bit of juvenilia, complete with bird calls, sprites, and wood nymphs in the charming Scherzo-Intermezzo.

Henri Brod is such an obscure composer that he isn’t even listed in Groves, but he was an oboist during the time of Beethoven and a bit of an inventor of reeds and deeper instruments. His Wind Quintet in E Flat major, Op. 2, No. 1 was given a lively and disciplined reading by three former principals of the original full Jupiter Symphony, Barry Crawford, flute, Vadim Lando, clarinet, and Karl Kramer-Johansen, horn. The veterans were joined by bassoonist Gina Cuffari and oboist Winnie Lai.

This is definitely an oboist’s piece and Ms. Lai excelled as the beneficiary of much of the lyricism and solo melodic work. She was certainly up to the task, intoning beautifully with a satisfying singing line. Never having heard of Brod, I tested myself a bit during this reading by trying to discern his major influence. I settled on Anton Reicha, and was warmly rewarded after the concert when my cursory research showed that Reicha was indeed Brod’s teacher.

This performance was notable for its clarity of individual lines and infectious gemutlichkeit. There was a little messiness from the horn, but regular concertgoers have come to expect such equivocation.

Just as obscure in his own way was Charles-Marie Widor. Violist Max Mandel joined for this realization of his Piano Quintet No. 1 in D minor.

Widor is probably best known as the teacher of Albert Schweitzer and his collaborator on several of his famous editions of the complete organ works of Bach. But he was also a prolific composer of other scores and this quintet showcases a white-hot, passionate side. The work is Franckian in character — Widor replaced Franck as the organ professor at the Paris Conservatoire in the same year of 1890 that he penned this quintet — and even somewhat Lisztian in emphasis. What with Debussy on the same program, there was a definite Wagnerian feel to these marvelous pieces. The quintet was ecstatically played, one of the best performances I have heard at Jupiter in quite some time — and that is saying a lot.