It is above all the genre of the string quartet in which Gernsheim has earned great merit with his new ideas. The Diogenes Quartet interpreted the first and third quartets on Vol.1 of our complete recording. FonoForum attested that the Diogenes Quartet plays this music "almost ideally. In this interpretation, the music acquires a warmth of feeling that never slips into kitschy sentimentality. This is a balancing act that the quartet manages as a matter of course: unobtrusively demanding" (FonoForum 9/2019).

On Vol.2, the quartet devotes itself to the String Quartet, op.83, as well as the String Quintet, op.89. His Quartet, op.83, was first published in print in 1911 by the publisher N. Simrock, but unlike Gernsheim's other chamber music works, only in parts without a score. It was first performed by the Klingler Quartet. Karl Klingler was concertmaster of the Berlin Philharmonic, for a time a member of the Joachim Quartet and later its successor at the Berlin Musikhochschule, and is also the dedicatee of the work.

The movements show on the one hand Gernsheim's melodic qualities and at the same time the disjointedness of his late style. Gernsheim usually does not linger long on a melodic idea; the movement is characterised by short sections from which small motifs always develop further. The whole is accompanied by harmonic regressions, an extensive chromaticism and a play with major-minor shadings. Yet Gernsheim always remains rooted in the tonal tradition, but has already moved quite a bit away from the stylistics of his late friend Brahms.

His Quintet, op.89, was premiered in March 1916 while the composer was still alive, but was never printed. Everything is very chromatic to the limits of the diatonic, but not beyond, and is somewhat reminiscent of Max Reger's chamber music. Gernsheim takes the small-scale, chromatic, dynamic and motivic contrasts and outbursts to an even greater extreme than in his last string quartet. The movement shows such a great variety of ideas, as if Gernsheim had suspected that it was to be his last chamber music work and therefore wanted to pack everything in once more.