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The oscillating buzz of piano and celesta in the “Chant d’Amour II” section seemed to cast a blur over a lush melody in the violins.

Yet it’s still plenty sumptuous, thanks to Zimmermann’s work with harp, celesta and winds.

Bell's work leaned on his background in classical music, and he introduced instruments like the celesta, sitar, oboe, bassoon, cor anglais and bells into his rococo arrangements.

The music turns blocky and dramatic again, with the vehemence of a Bernard Herrmann film score, before a softening ensemble, with touches of celesta and piano, is surprised by a brief, fierce coda.

The violist eventually plays a quietly piercing, glassy high note, to which the celesta adds another bell-like, candied element.