From pretzels to beer or wine outside the Neil Cochran House, guests were invited to munch, sip, and bring their food inside the intimate, brightly lit room where the trio awaited us. The Amorsima Trio—violin, viola, and cello—performed a vibrant selection of living artist works, including Jessica Meyer’s I Only Speak of the Sun and Jeffrey Mumford’s In Soft Echoes… A World Awaits, and Kaija Saariaho’s Cloud Trio. A screen displayed the poetry of the great mystic Rumi against visual representations of the sun, moon, and clouds, which one of the trio members read aloud at various intervals before each piece, creating a one-of-a-kind and captivating experience.

Amorsima Trio, founded in 2016, is known for pushing the boundaries of the traditional string trio. Violinist Mia Detwiler, violist Michael Capone, and cellist Kourtney Newton share a passion for new music and a commitment to expanding their repertoire. Going back into my musical memory bank of the 1980s when I was first exposed to Philip Glass, the new music composer and musician who transformed the world with his minimalist sounds, though he prefers to describe his work as “music with repetitive structures.” His compositions are known for their gradually evolving patterns, simple harmonies, and rhythmic pulse, often creating a mesmerizing, meditative atmosphere.

The trio’s name, “Amorsima,” inspired by Xenakis’ Morsima-Amorsima, reflects their mission to break free from fate and reimagine the possibilities of their art. This mission, with Philip Glass’s influence in mind, was evident in the Season 11 opening performance, which was a sweet homage to the sun in a gemütlickeit1 manner. Daniel Swayze, the Director, emphasized to the audience that “new music is not exactly new, as all music was once new.”

There were two intermissions. Before the first, we heard composer Yuxuan Lin’s “Three Miniatures.” She is a student at Juliard and won a grant from the 30x30x30 Project, which gives voice to cultures, heritages, and different affinities.

After the first intermission, “Rumi Settings,” written by Augusta Read Thomas’ piece riccoched through the bows to create a violin harmonic popcorn effect. Imagine popping bubble wrap in staccato, and you’lll get the impression made by the musicians with their bows. Some of the pieces were sad, melancholy, and yet conversely hopeful as the metaphor of clouds (there were some art pieces in the room of clouds, no less) dispersed to reveal sunshine.

The performance attracted a diverse audience, ranging from children as young as eight to individuals over seventy. This diversity is a testament to the universal appeal of great music and art, and it was refreshing to see such a wide range of age groups come together to enjoy the performance. This type of age group diversity is rare in Austin, and I was glad to be part of the changing landscape.

About the Beethoven Series

The Beerthoven Concert Series offers an accessible and refreshing twist on classical music—an inviting fusion of world-class chamber performances, relaxed atmospheres, and craft beer. Imagine an evening of Bach paired with a cold Doppelbock, all in an intimate setting that breaks down the formal walls of traditional concert experiences. Inspired by the lively gatherings of the Austin Saengerrunde and Beerthoven’s salon concerts, Beerthoven brings live classical music, free drinks, and snacks under one ticket. Here, there’s no backstage. You might grab a beer alongside the musicians, making the experience feel less like a concert and more like a celebration.

Diversity is at the core of Beerthoven’s programming. Each event brings together a unique mix of music, instruments, and artists, all with a strong commitment to supporting local talent. This dedication to fair artist compensation, distinctive venues, and an affordable ticket price—especially for students—makes Beerthoven a standout in Austin’s vibrant music scene. It’s a source of pride for the community, knowing that they are supporting and nurturing their local music scene.

For more information on the Beerthoven Concert series, visit: https://www.beerthoven.com/

To learn more about applying to or learning about the Soli Chamber Ensemble based in San Antonio, visit https://solichamberensemble.com/30-30-30/

1 German for cozy and comfy atmosphere

By Elise Krentzel

Elise Krentzel is an author, bestselling memoirist, narrative nonfiction writer, ghostwriter, and narrative IP architect whose work explores the intersection of place, identity, culture, history, and lived experience. She is the author of Rogue Entrepreneur: Building a Life the World Didn’t Have a Name For and Under My Skin: Drama, Trauma & Rock ’n’ Roll, a bestselling memoir. Her forthcoming Hydra: The Human Atlas launches a new body of work examining how place shapes who we are, what we remember, and how we transform. A former Tokyo Bureau Chief for Billboard Magazine, Krentzel spent more than two decades living and working internationally, including five years in Japan, and has reported on music, art, culture, food, travel, and the people and places that shape them. Today, she works selectively with authors, leaders, and other high-level professionals on books and narrative projects, bringing editorial rigor, lived global perspective, and a deep understanding of story architecture to work intended for serious publication and potential adaptation across film, television, and other media. She is also the founder of the Human Atlas Institute, an emerging cultural initiative built around conversation across difference and the exploration of geography, identity, culture, history, and beauty as forces that shape human experience. Krentzel's home base is in Austin, Texas, with one foot in France, and continues to write, travel, research, and develop new books and cultural projects. Find her at https://elisekrentzel.com, LinkedIn at www.linkedin.com/in/elisekrentzel. Facebook www.facebook.com/OfficiallyElise Instagram www.instagram.com/elisekrentzel.