A New Classic : Crumb’s atmospheric ‘Voice of Whale’ is well-executed by Camerata Pacifica.

Last week, the Camerata Pacifica, nee the Bach Camerata, continued its crusade to make chamber music a living, ongoing force in the area, performing the second program of its season in four different venues from Santa Barbara to Thousand Oaks. They’re like traveling fine-art minstrels, spreading their good cheer and refinement, if in a limited area.

However effective the other spaces on the itinerary were, there was a special resonance and dramatic logic when the group landed in the Forum Theatre of the Thousand Oaks Civic Arts Plaza on Sunday night. Aside from the space’s acoustical virtues, the deep wooden floor, which passes for a stage, was used to good effect when they performed George Crumb’s atmospheric 1972 work, “Vox Balaenae (Voice of the Whale).”

Flutist Adrian Spence, cellist John Walz and pianist Joanne Pearce Martin retreated to the rear of the space and, honoring the composer’s will, donned masks while playing in half light. It added to the general aura of mystery and impressionistic gesture built into the work.

Recognizing the fear of (new) music often encountered in classical audiences, founder Spence took the opportunity to discuss the piece beforehand, conveying, with his usual wit, his passion for it.

The work was inspired by humpback whale songs, but ultimately offers a tone poetic journey through the geologic ages, and it carves out its own stylistic agenda. There are plenty of Asian sonorities, experimental sounds, and extended techniques--singing through the flute, manipulating the piano strings, and coaxing whale-song-like harmonics from the cello. Humor is allowed, as well.

Performed here with obvious commitment and care, Crumb’s music proved to be terrifically evocative, right down to the final wisps of a repeated piano motif on the movement called “Sea-Nocturne (. . . for the end of time).”

Leading gently up to the Crumb, we first heard Brahms’ Sonata in F for Piano and Cello, performed with accuracy and empathy.

Bohuslev Martinu’s Madrigals for Violin and Viola, performed solidly by violist Donald McInnes and violinist Roger Wilkie, served as a perfect bridge between Brahms and Crumb, with its wry contrapuntal strategies.

The Crumb-centered program proved to be one of the season’s rare displays of new music in the area, coincidentally, which took place on the same day that the New West Symphony’s contemporary-minded “China Alive!” program.

*

Classical Bounty

It’s a big week for classical music in Ventura County. With an Ojai Camerata concert Saturday, and concerts by the New West Symphony, there’s plenty to choose from.

The New West program, under the title “Musical Masterworks,” is a Romantic affair including Tchaikovsky’s First Piano Concerto, with guest soloist Jerome Lowenthal. The orchestra gets its workout with Brahms’ First Symphony.

Ondine Young, currently in the Doctor of Musical Arts choral conducting program at UC Santa Barbara, will be guest conductor with the Ojai Camerata for its second concert of the season. Young has selected a program of French music, which focuses on the Gregorian chant revival of the 19th and 20th centuries. For part of the program, the Camerata will be joined by local musicians and the UCSB Young Artist String Quartet.

BE THERE

New West Symphony, performing Friday at the Thousand Oaks Civic Arts Plaza, 2100 Thousand Oaks Blvd., and Saturday at the Oxnard Performing Arts Center, 800 Hobson Way. Both concerts are at 8 p.m. Tickets are $15-55; (805) 643-8646 or 497-5800.

Ojai Camerata, performs at the Ojai Presbyterian Church at 304 N. Foothill Road at 8 p.m. Saturday and at the College United Methodist Church at 16 Baylor Drive in Ventura at 3 p.m. Sunday. Tickets are $9-12; call (805) 289-4890.