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In two major-key, three-movement pieces that were focused on him — a trio sonata in C and a concerto in D — he wove a subtle but clear, golden filament of sound in the outer movements; and, in the slow middle sections, was tenderly melancholy.

Opening with a meditative section of Bach’s Trio Sonata in G — Mr. Brown could set more dances to Bach, and I wouldn’t complain — the tone is measured and formal, but never stiff.

Both the music — the slow section of Bach’s Trio Sonata in G — and the movement have a formal, almost classical quality.

Violinist Glenn Donnellan kept pace with her on second violin in the Trio Sonata, Op.

The top layer was made up of a short two-part invention and a trio sonata; the Bach bread underneath was the Chromatic Fantasy and Fugue in D Minor for harpsichord.