MUSIC REVIEWS : Pacific Symphony Chamber Series in Newport

A generally unfocused chamber program Sunday by members of the Pacific Symphony may be best remembered as the concert that nearly included the premiere of a new work by Mark McGurty.

Originally, the program promised McGurty’s “Scene Concertante” for flute, harp and strings. But it was postponed until next season for lack of adequate rehearsal time, according to Pacific Symphony executive director Louis Spisto.

The first two concerts of the series have included premieres by local composers Nick Ariondo and Lucas Richman.

Despite the program changes, the varied evening at the Newport Harbor Art Museum showcased the admirable musicianship of the players, their painstaking dedication and, at times, breathtaking technique. Yet a missing sense of adventure often created an unfulfilled feeling.

Mozart’s Quintet in A for clarinet and string quartet proceeded in a meditative manner with tempos that were slightly slow. Clarinetist James Kanter’s mellow, vibratoless tone carried most of the music, maneuvering gently through the arpeggios and relishable melodies.

Ravel’s Introduction and Allegro for harp, flute, clarinet and string quartet, laden with lush harmonies, elicited a satisfying, full sound.

The aggressive style of harpist Mindy Ball brought home Ravel’s intention of a small harp concerto, with fast passages and glissandos all handled with the right amount of vim.

The rest of the fare--Albert Roussel’s Impressionistic Trio, Opus 40 for flute, viola and cello, and Ingolf Dahl’s Neo-Classic “Variations on a Swedish Folktune” for solo flute--proved more academic in their presentations. Certainly there was no shortage of technical virtuosity, but at times a sense of being too mechanical or emotionless crept in, leaving the listener chilled.