Sibelius, as few have heard the composer

Tuesday night at Walt Disney Concert Hall, the Los Angeles Philharmonic’s “Sibelius Unbound” festival ventured into chamber music territory -- a field that a wag might dub “Sibelius Unheard.” In other words, the Finnish giant is not known for his contributions to chamber music, and most of what he did write is considered juvenilia, not representative of his signature style.

The one piece that did come from Sibelius’ peak years was the String Quartet in D minor, “Intimate Voices,” but even that work is perched precariously on the edge of the mainstream repertoire. It was programmed with three other works of Scandinavian origin that were diverse enough to scotch any thoughts of a regional school.

Indeed, “Intimate Voices” is an anomaly in Sibelius’ entire output; nothing like it exists from before or afterward. He seems to have been searching for a new personal direction, wandering tersely, meditatively, often sounding nothing like himself. But he did achieve his purpose in spurts: The perpetual motion figures in the second and fifth movements signal ahead to the fourth and fifth symphonies, and some unison passages in the fourth movement anticipate the Seventh Symphony.

Conversely, Carl Nielsen’s brief lark for three winds and two strings, “Serenata in vano” -- which depicts some would-be Lotharios who try to get the attention of an oblivious young woman and finally decide that they don’t give a damn -- looks back to the loveliest passages of Nielsen’s Third Symphony.

Aulis Sallinen -- the sole living composer of the night, not to be confused with his fellow Finn, the Phil’s music director -- was represented by his String Quartet No. 3, which transforms, dissolves and broods upon a traditional tune, “Peltoniemi Hintrik’s Funeral March.” The Kronos Quartet took on this piece early in its discography, and although its version brought out some Sibelian echoes, the performance Tuesday established stronger links to Shostakovich and Schnittke.

The last piece, Grieg’s String Quartet in G minor, shouldn’t be a stranger to audiences who dote on Dvorak’s chamber music. It has the same immediate kind of passionate, melodic, folk-like appeal, although it is geared in the direction of Norway. It was also the Phil’s only acknowledgment of the centennial of Grieg’s death in 2007.

Space, alas, prohibits mention of every player in the three string quartets and the mixed ensemble in the Nielsen, but one can say that each group showed that the Philharmonic has a plethora of impressive musicians in its ranks. If anything, the youngish quartet that played the Grieg -- three of whose members chose to perform standing -- displayed the most immaculate ensemble.