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The second program began with the world premiere of an eight-minute bassoon concertino, “Opus Serena,” by Valerie Coleman, and Courtney Bryan’s “Sanctum,” from 2015.

One day in Paris he visited Wanda Landowska, grande dame of the harpsichord, to show her a concertino he had written: “No sooner had I entered than she took the pins from her hair, which fell in waves to her waist. ‘Take it,’ she said.

And Ashley Hod — sometimes on, sometimes off, especially in complex turning sequences when you can smell the fear — was wonderfully unguarded and crisp in her solo in Jerome Robbins’s “Concertino.”

Some of the textures here seem not far removed from the Largo movement of Dessau’s much earlier, rarely heard Concertino — for violin, flute, clarinet and horn — which opens Ensemble Avantgarde’s album.

“Concertino,” which Robbins created for the 1982 Stravinsky Festival, is pleasing too, if chamber-sized and oddly shaped.