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  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

  • Alex Syphers | Special to the Courant

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The Hartford Symphony Orchestra’s 2018-19 Masterworks Series opened with a pair of engaging studies in orchestral color: Béla Bartók’s Concerto for Orchestra (1943) and Modest Mussorgsky’s Pictures at an Exhibition (1874).

Executive Director Steve Collins introduced the program as a celebration of music in our community, a fitting theme for kicking off the orchestra’s 75th anniversary season. Each of the included pieces masterfully conveyed this unifying concept: Bartok’s work showcased individual members of the orchestra, while Mussorgsky’s was presented in collaboration with the New Britain Museum of American Art. Additionally, both compositions fit the theme in further ways, such as the circumstances of their creation and their musical style.

A traditional concerto features a soloist or small group of soloists accompanied by the orchestra. A concerto for orchestra instead treats players and sections within the orchestra as the soloists. While Bartók’s Concerto for Orchestra is not the first such piece, it is arguably the most well-known. This five-movement composition combines folksong-like melodies, intricate counterpoint, sensuous harmony, driving rhythms, and a deft approach to orchestral color — all hallmarks of Bartok’s sophisticated style.

Music Director Carolyn Kuan guided the orchestra in a skillful and dramatic interpretation of this striking work. The large cast of soloists demonstrated a high level of artistry and passion as they confidently executed the difficult music. While the balance between the soloists and accompaniment could have been refined in spots, overall the performance was very convincing. The work was well received by the enthusiastic audience, who clearly appreciated the technical facility and intense expressiveness of the musicians.

In addition to allowing the audience to experience the virtuosic talents of the instrumentalists, Bartók’s composition further tied into the theme of community in multiple ways. First, the composer was a notable ethnomusicologist who studied the music of his native Hungary. His compositions, including the Concerto for Orchestra, are strongly influenced by the folk music of his homeland. Second, the piece was made possible by Bartok’s friends in the United States, where he emigrated to escape WWII. At the time, the composer was battling the leukemia that eventually took his life and was in dire financial straits. Two friends convinced Sergei Koussevitsky, then director of the Boston Symphony, to commission a new orchestral work from Bartók. Third, featuring music by an illustrious immigrant such as Bartók is particularly appropriate for a program that is paired with the second naturalization ceremony hosted by the HSO. Scheduled before the Saturday night performance, ticket holders are invited to attend and show their support for 10 new citizens.

The second piece on the program, “Pictures at an Exhibition,” was also very relevant to the evening’s focus on community. Mussorgsky composed the work as a tribute to Mussorgsky’s friend, artist and architect Victor Hartmann, after his untimely death. Originally scored for piano, the composition was not performed or published during Mussorgsky’s life and remained unknown until his own early passing in 1881. Discovered by friend and fellow composer Nicolai Rimsky-Korsakov, the work became a staple of the piano repertoire and spurred a variety of orchestrations, including Maurice Ravel’s frequently performed version that was heard on this program.

The HSO gave vivid performance of the piece, beautifully capturing the expressive nuances and dramatic contrasts of character. The composition is a series of miniatures inspired by a stroll through a memorial exhibit of Hartmann’s work. The introductory movement, Promenade, is a type of walking music that returns periodically to carry the audience on their journey through the exhibition. In each appearance, variations of melody, harmony, orchestration, tempo, and more cleverly capture the different paces and emotions one might experience when moving through an art gallery. Ten movements inspired by Hartmann’s drawings and watercolors constitute the rest of the set, each differing in mood to capture the subjects of the art.

Like Bartók, Mussorgsky was greatly influenced by the music of his country. Elements of Russian folk music, combined with aspects of the Western classical tradition, are fused to create a distinct and captivating style. French composer Ravel’s hand is noticeable in the bold orchestration, which includes the saxophone, an instrument not typically found in the orchestra. Though equal in length to the Concerto for Orchestra, the pithiness of the movements allows “Pictures” to fly by. After its majestic conclusion, the audience showed their enthusiasm with the second standing ovation of the night.

Partnering with the New Britain Museum of American Art, who curated an exhibit inspired by Mussorgsky’s music, was a brilliant decision. The included artwork, though not inspired by “Pictures at an Exhibition,” provided an intriguing pairing. Projections of the art accompany the orchestra’s performance, and the exhibit can be viewed at the museum through Oct. 15.

The program’s pre-concert talk provided great insight into these pairings. Museum Director Min Jung Kim joined Kuan to discuss Mussorgsky’s music and the selected artwork. While it certainly is possible to enjoy the performance without attending the talk, I found it particularly helpful, especially when the connection between the art and music was less immediately obvious. (I also encourage curious attendees to look up Hartmann’s work online to get a sense of Mussorgsky’s inspiration.) Though chosen with careful reference to the music and Hartmann’s original artwork, the pairings impart a distinct perspective that may inspire listeners familiar with composition hear it in a new way.

HARTFORD SYMPHONY ORCHESTRA continues its “Pictures at an Exhibition,” performances Oct. 6 at 8 p.m. and Oct. 7 at 3 p.m. at Bushnell Center for the Performing Arts, 166 Capitol Ave. in Hartford. Admission is $38 to $72. hartfordsymphony.org.

PICTURES AT AN EXHIBITION continues at New Britain Museum of American Art, 56 Lexington St., through Oct. 15. nbmaa.org.