The players set the tone at once with an unusually tense, atmospheric account of the slow introduction. The Allegro combines a bold, striding impetus with poetic flexibility, as in the clarinet's wistful musings near the end of the exposition. In the Adagio there's ethereal duetting between Richard Hosford's clarinet and Marianne Thorsen's pure, sweet-toned violin. But the players are also acutely responsive to the music's darker undercurrents; and in the brooding coda Hosford tellingly uses Schubert's accents to enhance the sense of unease, even terror.