Something old, something new was the theme of the Sarasota Orchestra’s Masterworks 4 concert, which delivered contemporary pieces along with two well-burnished favorites of the classical canon. While the orchestra was in full bloom in works by Beethoven and Tchaikovsky later in the program, it was a little tone study by Gabriella Smith called “Field Guide” that captured my imagination.

Guest conductor Yaniv Dinur, who could have an off-season gig as a stand-up comic, provided a more than a thorough guide to the “Guide” using examples played by the orchestra. It is very helpful to point out the signposts before introducing a new composition. This also helped draw audience attention to the various extended techniques that produced the sounds they would hear.

“Field Guide” was inspired by field recordings that Smith, also an avid birder and naturalist, has made over the years while traveling throughout the world. By incorporating raps on the body of the strings, tapping of keys, coos through detached mouthpieces and more, we were invited into a world where the fauna and flora stirring at the break of day gradually awaken to the full sun.

Thrums and minimalistic ostinatos slowly moved us into a seemingly urban environment where I thought I heard nearby highway traffic, the scraping of industrial activity and the bustle of a city. Not to paint this as literally programmatic, Smith’s soundscape was unique and sparked surprising images and feelings.

Dinur, and this talented orchestra, navigated the new as well as they did the Beethoven Violin Concerto in D Major, Op. 61 that followed. Soloist Augustin Hadelich – Musical America’s 2018 “Instrumentalist of the Year” and a highly lauded violinist – delivered the most elegant and fiery performance of this concerto I remember.

Supported by a pristine orchestral fabric, Hadelich’s seamless phrases and sparks of florid runs and filigree kept us riveted to the stage. While his blazing technique in the cadenzas and raucous finale was stunning, the silky caresses – particularly of the inner movement – transported receptive ears to a peaceful haven.

Dinur, and this talented orchestra, navigated the new as well as they did the Beethoven Violin Concerto in D Major, Op. 61 that followed. Soloist Augustin Hadelich – Musical America’s 2018 “Instrumentalist of the Year” and a highly lauded violinist – delivered the most elegant and fiery performance of this concerto I remember.

Supported by a pristine orchestral fabric, Hadelich’s seamless phrases and sparks of florid runs and filigree kept us riveted to the stage. While his blazing technique in the cadenzas and raucous finale was stunning, the silky caresses – particularly of the inner movement – transported receptive ears to a peaceful haven.

Master of dramatic melodic sweep, Tchaikovsky carries us away on a torrent of compelling phrases and rhythms in this symphony. It presents towering challenges for orchestral musicians and principal soloists. Sarasota is gifted with remarkable musical leaders and each performed heroically. So many had to take risks and not all attempts were perfect, but this was a memorable performance with a great deal of vigor.