The ``Capriccio'' section took its mood from Mendelssohn's scherzos, and the ``Burletta,'' for all its big rough nature, spoke of Haydn's late minuet movements. The music made its impact with its spaciousness, the use of the piano as rhythmic propellant, and clear textures.
The last movement, an elegy, seemed oddly attached to four preceding movements that projected strongly affirmative, even playful moods. The elegy is a big lament that sounded like the end of some other work, for the first four proclaimed the joy of sound, of melodic play, and in the ``Capriccio,'' the fascination of Mendelssohn's light, quick manner.
These players gave the Schumann quintet a youthful, buoyant voice. The second movement, which can be a haunted, gray outcry, sounded much more cheerful than that, and provided more of a complement than a contrast to the other movements. Pianist Stephen Prutsman proved an elegant player through this work.
Catherine Cho, Daniel Panner and Marcy Rosen opened the concert with Beethoven's String Trio in C minor (Op. 9, No. 3). The performance was finely joined, with the three players fitting sound and gesture in ways that helped the music to expand. The Adagio movement was the most memorable. They found in it depths beyond the usual reading of the score.
MUSICIANS FROM MARLBORO Presented Tuesday by the Philadelphia Chamber Music Society. No additional performances.