The final chapter examines Hensel’s own creative response in the medium of chamber music: the D minor Piano Trio, written over a decade later and (unlike the quartet) published soon after her untimely death. The trio is formally more restrained than the quartet, yet has numerous points in common. I then discuss the quartet’s modern reception since its rediscovery in the early 1980s, before outlining the bigger ‘take away’ points of this study. Hensel’s quartet points to a fascinating and almost unknown avenue of early Beethoven reception. It also shows – for better and for worse – the interaction between two prodigiously talented siblings, and how music, its internal allusions and resonances, could function as a means of intimate communication between close family and friends. This recently discovered work reveals not only the voices that were all but silenced but of paths not taken by music history, of avenues left unexplored or not fully developed.