Photo: Chris Lee Perhaps a Carnegie Hall archivist has recorded how often an evening-long work of brand-new chamber music, performed in the big auditorium, has prompted a standing ovation, but I would guess almost never. I was afraid that Kevin Puts’s Emily — No Prisoner Be , for mezzo-soprano and string trio, would get swallowed up in the hall’s expanse. The sight of microphones increased my skepticism, because amplification can only help so much if the music is too small or the space too big.