The Academy of St. Martin in the Fields Octet demonstrated incredible clarity from the most delicate thread of the first violin's high notes to the full, deep notes from the cellos.

The performance was admirable for another reason: the Octet members performed in a large space -- Eisenhower Auditorium -- and did a wonderful job despite having to project their music more than octets usually must.

The strings' soloists led off the evening's performance with the full, rich harmonies of Brahms' String Sextet in G Major, Opus 36. The "Allegro non troppo" movement was especially compelling because of the players' adroit and sensitive interpretations.

First violinist Kenneth Sillito demonstrated his flair for dramatic entrances in the second movement of the sextet. His playing style struck a fine balance between passionate intensity and precision.

A pleasant contrast to the romantic compositions, Shostakovich's Prelude and Scherzo, Opus 11, written before the Soviet composer was 20, was energetic and rhythmically diverse from its dramatic opening to its fast-paced conclusion.

The Academy Octet handled Felix Mendelssohn's monumental Octet for Strings in E - flat Major, Opus 20 equally well. Mendelssohn's light yet rich composition was performed with precision and clarity.

The youthfulness of the piece shows through in the Octet's interpretation; it featured light, jumpy melodies. Mendelssohn was 16 when he wrote the piece.

The tones of "Allegro" were soft and mellow at first, then grew into deep, dark, sweeping phrases. "Andante" began quietly first with a solitary viola, then the cellos and finally the violins. "Scherzo" was a quick and agitated piece, but not angry sounding. The "Scherzo" ended abruptly, seemingly in the middle of an unfinished phrase. "Presto" was a stronger movement than the others, with broader phrases and more in-unison playing.

All in all, the Academy of St. Martin in the Fields Octet performed splendidly, showing depth and feeling for which the members are known.