PERFORMING ARTS

But the biggest screams came for the Caribbean radio megahit "She's Royal," a praise-filled tune for strong, independent women. In other words, the perfect song to play on Feb. 14, during Black/Reggae History Month.

-- Christopher Porter

Alexander Fiterstein And Alon Goldstein

The imperfections and eccentricities of live performance produce much of its attraction. Clarinetist Alexander Fiterstein and pianist Alon Goldstein suffered some imprecisions of notes and ensemble in Brahms's Clarinet Sonata No. 2 at Congregation Beth El in Bethesda on Sunday -- but that did not diminish the bucolic charm of their interpretation.

Fiterstein seems to have a nearly inexhaustible breath supply. He put it to good use in Poulenc's Clarinet Sonata, negotiating wide leaps and a dusky chalumeau register with apparent ease. He and Goldstein were at their best in the finale, in which Poulenc channels his inner Prokofiev.

The melancholy pervading Schumann's "Fantasiestuecke" also elicited fine cooperation, with some attractive rhythmic swing in the second piece.

Goldstein opened each half of the concert with piano solos: The four Schubert "Impromptus," Op. 90 -- two at the start, two after intermission. He was strongest in Nos. 2 and 4, whose note cascades look ahead to Chopin and sacrifice some virtuosity on the altar of emotional connection.

Fiterstein and Goldstein were most relaxed in their encore, the lovely little Canzonetta, Op. 19, by Gabriel Piern¿.

The performers' body language was a study in contrast: Fiterstein upright and focused, Goldstein swaying and talking silently to the score. In live performance, that's how people make beautiful music together.