Solid Craftsmanship by Dorian Quintet

From the looks of it, the program presented by the Dorian Wind Quintet, at CalTech’s Beckman Auditorium on Sunday, appeared to be grounded in tradition, anchored by the music of Bach, Mozart and Beethoven, with an agreeable smattering of modernity by Lalo Schifrin. But as it turned out the theme of the day was the fine art of reworking.

Bach’s Concerto After Vivaldi finds its source in one Baroque master’s reworking of another--and this pared down and adapted for the quintet by Mordechai Rechtman. Beethoven’s Quintet in E-flat, a charm-filled early work from before the emotional storm, had been adapted by the composer from the Octet original, and here made a smooth transition from string to wind quintet.

Meanwhile, Mozart’s Divertimento No. 3 in B-flat was transformed from the original for basset horns to a trio for flutist Catherine Ransom, clarinetist Jerry Kirkbride and bassoonist Jane Taylor. Mozart’s divertimentos are among life’s more reliable balms when played well, and the trio achieved an apt delicacy and drive.

Dorian oboist Gerard Reuter and hornist Nancy Billmann joined the others onstage for Schifrin’s 1987 “La Nouvelle Orleans.” At best, the piece intriguingly juxtaposes a tango-esque pulse with bracing angular outbursts before it lapses into destructively cute vernacular New Orleans cut ‘n’ pasting.

Through it all, the Dorian demonstrated the vitality and focus that make it a cherishable chamber group. It keeps an orderly house, but display no shortage of energy.