Trained under Alexander Zemlinsky and Franz Schmidt and admired by luminaries such as Wilhelm Furtwängler, Johanna Müller-Hermann developed a compositional voice of real ambition and technical command. Written in 1908–09, her String Quintet, Op. 7, already displays a symphonic breadth and dense motivic working that place it firmly among the trends of its time. Composed some fifteen years later, the Cello Sonata, Op. 17, is far more concentrated, blending impressionistic colour, powerful lines and pastoral calm. As her final piece of chamber music it makes a lasting impression, rounding out a rewarding portrait of an unjustly overlooked composer.