AFCM............................... Beginnings review by GILLIAN WILLS

A SPIRITED performance by virtuoso recorder player Genevieve Lacey and mediaeval instrumental specialist Poul Hoxbro of 12th and 14th century pieces was refreshing.

Giving the first word to a frame drum in a chamber music event is something different. Another rarely heard duo involved Henk Neven’s keening baritone with associate artist Alice Giles ( harp) in a heartfelt account of Dvorak’s Biblical Songs, Op. 99.

Mozart’s Piano Quartet No. 2 in E flat major, K493 performed by new recruits Orli Shaham, ( piano) Francis Gouton, ( cello) and regulars Jack Liebeck ( violin) and Christopher Moore, ( viola) formerly of the ACO, was a traditional yet enjoyably eloquent account. The pianist’s generous support, wonderfully pearled fingerwork and commanding solos combined with the strings’ persuasive lyricism and lovely tonal depth was precisely the kind of enjoyable theatre for which chamber music is famed.

Crammed with diverse influences of bluegrass, techno and classical traditions Goldner’s exciting, immensely polished world premiere of Matthew Hindson’s engaging, mood shifting String Quartet No. 5 drew enthusiastic applause.

Smetana’s tear- stained, griefpropelled Piano Trio in G minor was written after the death of his four- yearold daughter and the intense performance with the charismatic, stunning violinist Francesca Dego, Jiri Barta’s soulful cello and Lane’s luminous, fleet pianism successfully closed an entertaining program.