The afternoon session of Day 2 of the Cliburn semifinals may have won some more fans for Alessandro Deljavan of Italy. Hes probably the most talked-about contestant because of his expressive (some would say overexpressive) face.Musically, hes a fine artist. Its just that his mobile face tends to draw attention away from the fine music his fingers are producing.At least that was true until about 2:45 p.m. Sunday. Thats when he and the Brentano Quartet walked onstage to perform what has always been the most popular work of the Cliburns chamber-music phase: Dvoraks Piano Quintet in A.This is a great and beautiful work and a fabulous trove of melody. Deljavan and the Brentano were in tune with it immediately and gave a performance brimming with lyrical sounds.What about the visuals? Deljavan seemed subdued (though certainly not musically). Im guessing that thats a function of onstage camera work. With five people present there are more opportunities to focus elsewhere, and besides, they get in each others way visually.Nikolay Khozyainov of Russia opened the afternoon session with a program including Beethovens Sonata No. 31 (Glenn Goulds influence may have been at work here), Prokofievs blazing Sonata No. 7, Christopher Theofanidis Birichino the semifinals required composition and something called Liszt-Busonis Fantasy on Two Themes From Mozarts Marriage of Figaro.That last was a real hoot. It was so over-the-top with technical high jinks that it had to have been a joke. The audience seemed to have caught on to that.Jayson Gillham of Australia/United Kingdom, who had been quite impressive in the preliminaries, came back with a decent program of Theofanidis, Chopin and Debussy. Brahms Variations and Fugue on a Theme by Handel tested patience with a performance that was probably shorter than it seemed.The strangest performance of the evening session was Fei-Fei Dongs account of Brahms Piano Quintet in F minor. This was downright eccentric, with fast tempos pulled back to slow and loud dynamics scaled down to soft. There were eccentricities throughout the piece. The Brentano Quartet went along with this; it must have come out of a highly unusual rehearsal.There was a certain fascination in seeing what was going to happen next; it certainly couldnt be labeled predictable. Who knows; maybe this is the wave of the future in approaching Brahms.The other chamber-music performance of the evening session was devoted to Dvoraks quintet, with Alexey Chernov as the pianist. Alas, it wasnt in the same league as Deljavans earlier in the day. He has set the bar high.The final solo recital of the day was played by Sean Chen. This was a fairly decent performance, begun with Ligetis Etude No. 8 (Ligeti is clearly an up-and-coming figure with the young conservatory set) and ending with yet another Stravinsky Three Movements From Petroushka.