As ensemble-in-residence at the Music Institute of Chicago, the trio opened the Sundays on the Park Series this past weekend in MIC's Nichols Concert Hall at Grove and Chicago avenues in Evanston. The program, which showcases artist-faculty of the Music Institute, also celebrates the 75th anniversary of the Winnetka-based school, formerly known as the Music Center of the North Shore.

The musicians plunged right into the 21st century with their first number -- "Moon Jig," by Augusta Read Thomas, composer-in-residence at the Chicago Symphony Orchestra. It was commissioned this year by the MIC and performed at the center's gala in May. The Lincoln Trio also played the piece on a concert celebrating the second birthday of Nichols Hall in June.

This newly minted piece has grown more accessible with each hearing. It is a joyful work, by turns both lyrical and jumpy. The trio has rehearsed it to a fare-thee-well and made it something of a signature piece -- an admirable way to coax an audience toward new sonic landscapes.

Mozart with a difference came next. A 1992 piece by living Estonian composer Arvo Pärt titled "Mozart-Adagio," an arrangement from Piano Sonata in F Major, K 280, also explored new ground, though firmly rooted in classicism.

Dissonant phrases flowed against the bright clarity of Mozart's melodies, moving back and forth between musical eras. The trio achieved a graceful balance between old and new, introducing us to a piece that we'd like to hear again.

The three players took a no-nonsense approach to Beethoven's Piano Trio in B flat major, Opus 11. Aznavoorian's fingers fairly rippled along the keyboard, Cunliffe mined his cello for golden tones and Ruhstrat's violin soared, all the while displaying concentration and purposefulness, without undue theatricality.

It turns out they were saving the heat for a portion of Astor Piazzolla's "The Four Seasons of Buenos Aires -- Autumn and Spring." There was a gorgeous wistfulness to the "Autumn" section -- imagine the mood (though not the melody) of "Autumn Leaves," done South American style.

But the "Spring" section was the most glorious. The musicians conveyed the intensity of life breaking forth from once-frozen ground. Aznavoorian played at times like a jazz pianist, letting the music flow with singular style. Both string players milked the lush, lyrical lines and gave us a wonderful performance.

I wonder what the other two seasons sound like.

The three played a short encore -- "Après un rêve" by Gabriel Fauré, ending the concert on a lush and lovely note.

The afternoon opened with the appearance of harpsichordist David Schrader, playing Bach's Chromatic Fantasy and Fugue. He has been scheduled to play the hall's organ, but restoration is proceeding more slowly than anticipated. No problem. To hear the fleet-fingered Schrader play anything is a pleasure and we still have the organ recital to look forward to in the future.

It is impossible to separate this music from its venue. Now entering its third season, the Nichols is more than fulfilling its promise as an acoustically fine and visually beautiful concert hall.

The continuing series of artist-faculty concerts are also little gems. Modestly priced, these low-key events with high-quality programs are held Friday nights and Sunday afternoons. Do yourself a favor and drop in.