The trio maintained a strong ensemble through tricky rhythms and closely integrated parts, and really shone in the fourth movement, "Berceuse (For Carol)," when they waxed melodic. And yes, Saltzman does indeed achieve a gorgeous melodic line on tuba.

Kellaway's music recreated what Saltzman described as "1970s ... very laid-back California," a style known at the time as lava-lamp music. Built on morphing "cells," the works were influenced by minimalism and the new-age aesthetic: smooth, pleasant, floating rather than purposeful, "being" rather than "becoming."

As the main soloist, Saltzman excelled, but Butin also delivered a notable solo in "Sonoro," and Yee bound the whole together, both as foundation and as an equal soloist.

The second half was a somewhat unconventional ensemble, as well: a five-movement piano quintet consisting of violin (Claire Sakai Hazzard), viola (Mark Butin, Wade's brother), cello (Karen Bechtel), string bass (John Gallagher), and piano (Yee). However unconventional the piece was when it was composed in the 1820s, today it is a cornerstone of classical chamber music and masquerades as conventional in its familiarity: Schubert's immortal "Trout" Quintet.

Even more so in the second half, Yee proved to be the heart and soul of the ensemble.

In the fourth movement, the eponymous set of variations that made the work so famous, Yee's filigree variation on the trout's theme, followed by his stormy tale of the cold-blooded angler, was a high point that opened new possibilities. Bechtel's succeeding cello variation, especially part two of the theme, was outstanding, and the concluding variation proved to be the ensemble's finest moment, with Yee as the sparkling brook, and Hazzard and Bechtel sharing the gemutlich (amiable) main theme.

Throughout, Gallagher contributed a strong voice and defining character, while Butin, one of the strongest ensemble players, created internal dialogues.