The “Rhapsody” (1989), cohesively and serenely presented by pianist Cheryl Seltzer, clarinetist Moran Katz, and violist Stephanie Griffin, revealed a world of light hidden within the dark palette of the viola and clarinet. Joel Sachs’ presentation of “Sculpture” (1964) captured the suspended stillness embedded in this work; though the opening was colored in dark, sinister tones rife with anxiety, the work slowly calms to a quiet curiosity. An irregular yet delicate dance came across in the “The Love Song of Two Pigeons” (1991), another world premiere; Mr. Sachs created a stunning web of sound to support the challenging demands. Stephanie Griffin’s quiet energy captured the beauty of “From My Garden” (1983). With the skill and insight acquired over a lifetime of artistry, Mamlok produces a sublime rendering of biological wonders, without cliché.
In “Confluences” (2001), a Continuum commission performed by clarinetist Moran Katz, violinist Renee Jolles, cellist Joanne Lin and pianist Cheryl Seltzer, the poignancy of the music was captured with expression and outstanding clarity. The String Quartet No.2 (1998), with its contrasting themes and colors passed among the performers in continuous conversation, was carefully rendered by Renee Jolles and Airi Yoshioka, violinists; violist Stephanie Griffin and cellist Joanne Lin. This extraordinary program closed with a witty and enjoyable performance by clarinetists Charles Neidich and Ayako Oshima in the world premiere of the latest Ursula Mamlok composition: “Aphorisms II” for Clarinet Duo (2009). Their playful interchanges fashioned a delightful coda to this significant celebration of Ursula Mamlok.