There's a broad opening movement that seems like an almost deliberate emulation of Mozart's D-minor moods ("Don Giovanni," say, or the Piano Concerto No. 20), a jaunty, pointillist movement aptly labeled "Minuet or Scherzo" and an expansive slow movement featuring a lyrical theme and variations that nods to Beethoven's efforts in that line. Even the instrumentation itself is an oddball treat, with three winds (flute, oboe and horn) and three low strings (viola, cello and bass) arranged symmetrically around the piano, which gets the starring role (Hummel was a great keyboard virtuoso of his day). The first half of the program was less consistent, as the players seemed to struggle to adapt to the close acoustics of the hall after opening the program on Sunday in the more spacious Center for Performing Arts at Menlo-Atherton. Anton Reicha's Clarinet Quintet featured characteristically graceful playing by clarinetist Anthony McGill, but still sounded loud and somewhat crude.

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