Classical music fans received a treat Sunday afternoon at the Hutchins Consort concert at the Lied Center. Not only did they get to hear Mozart and Ravel played on eight specially designed violins, but they also had the opportunity to hear a bit of big-band swing and an encore akin to an Ozark hoedown.

The Hutchins Consort just returned from a two-day residency to Minneapolis, Kan., where artistic director Joe McNalley has roots and where the players posed for photographs with their instruments on the boulders at Rock City. The concert Sunday capped off their stay in the state, before heading back on the road or to their regular jobs teaching, arranging, composing and performing with other groups.

The program opened with two excerpts from “Missa L’Home Arme,” by Giovanni da Palestrina, that introduced listeners to the sound of the scaled instruments, which were built by luthier Carleen Hutchins and all sound like violins in their range. To the modern ear, Palestrina’s piece almost seems colorless it compares to playing only the white keys on the piano.

Palestrina’s restricted melody was forgotten quickly, however, when the musicians bowed the first few notes of Maurice Ravel’s “Pavane Pour une Infante Defunte,” arranged by McNalley. Igor Tchetchko’ sailing soprano violin was backed by a beautiful rippling of pizzicato notes.

Other highlights were “Intermission Riff,” a work made famous by the Stan Kenton Band and played by the consort with swinging style; and George Gershwin’s “Summertime,” which was arranged by Hutchins Consort member Frederick Charlton in a way that allowed McNalley, Tchetchko and treble violin player Reginald Crews to inject the standard with skilled jazz improvisation.