Pasadena Symphony Tells Stories

Deep into his 17th season as the Pasadena Symphony’s music director, Jorge Mester concocted another striking program. Heard Saturday night in Civic Auditorium, this one culminated in Brahms’ Violin Concerto, preceded by two striking American ballet scores from the mid-20th century: Stravinsky’s “Jeu de Cartes” and Copland’s “Billy the Kid.”

Brahms’ main course dominated the evening, yet the two salad courses offered variety and delight.

Ever the serious virtuoso with a broad repertory, American violinist Elmar Oliveira, 51, has become a distinctive artist particularly with the works of this composer. His Brahms concerto, in resonant collaboration with Mester and the accomplished Pasadena ensemble, had breadth, a core of lyric brooding and handsome detailing.

Throughout, Oliveira maintained Brahms’ delicate balance between struggle and repose, the dichotomy of this work, and at all times he allowed the musical narrative to unfold convincingly. Only in the slow movement did both soloist and orchestra press too hard; here, overstatement crowded out the Adagio’s quietude and meditation. The finale proved as heroic and triumphant as Brahms must have envisioned.

Copland’s familiar “Billy the Kid” Suite became the occasion of bright display and transparent instrumentalism. The orchestra’s playing boasted style, panache and a deep confidence. Among the soloists, trumpeter Burnette Dillon earned the bow he received at the end.

Stravinsky’s joyful, acidulous “Jeu de Cartes” opened the program felicitously, despite occasionally roughshod execution and unpolished ensemble playing.