The following review is reproduced here by Chamber Music Columbus as a public service with permission from the Columbus Dispatch. The views expressed by the reviewer do not necessarily reflect those of Chamber Music Columbus or its audience.

REVIEW

MUSIC REVIEW | ACADEMY OF ST. MARTIN IN THE FIELDS

CHAMBER ENSEMBLE PLAYS EVERY WORK JUST RIGHT

Published: Monday, February 28, 2005

FEATURES - LIFE 04B

By Mary Hoffman

FOR THE COLUMBUS DISPATCH

The highly polished recital Saturday night by the Academy of St. Martin in the Fields Chamber Ensemble lived up to all expectations.

In fact, the performance by the eight Englishmen can be described only in superlatives.

The confident, consummate players relished the opportunity to immerse themselves and their listeners in the music: The Chamber Music Columbus event in the Southern Theatre featured superb shading and shaping throughout, with an expected attention to details and dynamics that enhanced the drama of each selection.

Inspired by a failed romantic relationship, String Sextet in G Major , Op. 36, was the second of two by Johannes Brahms.

The work continued to break new ground after it was written in the mid-1860s -- with its music for pairs of violins, violas and cellos.

The love affair may have ended badly, but the name of Agathe lives on, woven into the score and spelled out in the music. It was introduced Saturday night during the compelling opening movement by first violinist Kenneth Sillito and first violist Robert Smissen.

Through the string of noteworthy aspects in the reading, the ensemble threw itself into the sudden peasant dance and fiery conclusion of the "Scherzo,'' defined the five variations of the "Adagio'' and brought the contrasting nature of fourth-movement themes and fugue into clear relief.

The full complement of players took the stage for the second half of the concert.

Two Pieces for String Octet , Op. 11, by Shostakovich preceded Mendelssohn's Octet in E-flat Major , Op. 20.

Written 100 years apart, both are youthful works. The first is a suggestion of what was to follow; the other is a full-blown masterpiece.

Dmitri Shostakovich was creating his first symphony as a student when he wrote his pieces in 1925: The opening "Elegy,'' in memory of a friend and poet, is angry as well as somber. The "Scherzo'' that follows is sharp and satirical, like the biting wind of winter.

The performance was appropriately dark and vigorous.

Energy and exuberance dominate the Felix Mendelssohn score, with all facets beautifully captured by the spellbinding execution, which brought the deeply appreciative audience to its feet.

The exquisite ensemble flowed like honey through the "Andante,'' spun out delicate threads during the "Scherzo'' and charged through the "Presto'' with aplomb.

The encore offered a captivating arrangement of Gershwin's Summertime .