Like his previous chamber compositions, Oswald never published the quintet, although he included it in most of his performance programs.
[1] Oswald's affiliation with the German school is apparent, with echoes of Schumann and Mendelssohn, especially in the first and last movement respectively.
On the other hand, the harmonies of the first movement's development section already show the composer approaching the style of Fauré and the French school, an inclination that will become more clear in his future works.
Its inspired lines[2] and expressive density makes it the emotional center of the whole quintet.
[1] A rousingly fast tempo requires piano virtuosity, while the strings complete and interrupt each other's phrases in the most amicable manner.
Only an arrangement for piano solo of the third movement (Molto adagio) made by Oswald's pupil João Octaviano Gonçalves was published in Rio de Janeiro ca.