An inspired evening of chamber music

The Seattle Chamber Music Festival has been on a high this summer with superb concerts and sold-out houses, but none more so than Friday's concert at Lakeside School.

The music-making, from Dohnanyi to Sviridov to Brahms, in a word, was compelling. The programming, especially the coupling of Dohnanyi's Serenade and Sviridov's Piano Trio on the first half, was nothing short of inspired.

There are not so many string trios in the chamber music world, but this is a prize one, composed at the turn of the last century by the young Hungarian composer. Erin Keefe was the violinist; Richard O'Neill, violist, and Bion Tsang, cellist. They were a good group together, in terms of ensemble, balance and musical purpose.

Dohnanyi gave the violist some of the best material, including two striking solos. With his dark, rich sound, seamless phrases and first-class technique, O'Neill made the most of his assignment. The moments were worth remembering.

Sviridov was a 20th-century Russian composer influenced by Shostakovich, but not to the point of losing his own identity. His Piano Trio is one of his most notable successes.

Two of its proponents Friday were making their festival debuts -- violinist Daniela Shtereva and pianist Andrew Armstrong.

Shtereva is Bulgarian but lives in the United States and Armstrong, American. They are both a huge addition to the festival personnel and will continue to play this coming week. Shtereva made a strong impression particularly.

Their partner was Robert deMaine, who lends weight and finesse to whatever he does.

Brahms' G Minor Piano Quartet ended the evening, as it has many festival concerts. It is a glorious work, also known on the stage as the music, in Arnold Schoenberg's orchestration, for Balanchine's "Brahms-Schoenberg Quartet," premiered in 1966.

The quartet combined the young talent of violinist Joseph Lin and pianist Alon Goldstein with veteran musicians Ronald Thomas on cello and Cynthia Phelps on viola. At first, Thomas and Phelps saw the work a little differently than Lin and Goldstein -- broader, more expansive, warmer. Eventually Lin and Goldstein agreed and the performance ended with unquestionable brilliance and stylistic boldness.