The Lawrence Chamber Orchestra opened its season Sunday afternoon with a program described as “dance-inspired and dance-like chamber music” from the 19th through 21st centuries. The repertoire was performed by an all-string orchestra, which, at 16 members, was half the size of last year’s ensemble and much closer to the standard concept of a chamber ensemble. The downsizing benefitted the group, which played its program with greater clarity than its larger predecessor.

Conductor Steven Elisha explained, “We associate the idea of dance with joyous occasions.” Led by Chris Harnden as concertmaster, the orchestra indeed played joyously, and watching Elisha’s expressive conducting was like having the score in hand. One could see at all times both what he wanted from the orchestra and whether the musicians supplied it. The balance among the sections was exemplary, and dynamic changes were handled especially well.

The Lawrence Arts Center proved an exceptionally good venue for the orchestra, projecting its sound with a becoming intimacy that suited the music. Unfortunately, many audience members noted a sound variously described as a “squeaking” or “tapping” that distracted from the music, especially in its quieter moments. The best guess at the culprit’s identity was a too-flexible podium, yielding beneath the conductor’s vigorous movements.

The afternoon opened with Edvard Grieg’s “Holberg Suite, Opus 40,” with movements designating baroque-era dances, including Sarabande, Gavotte and Rigaudon. Named for the Norwegian dramatist Ludvig Holberg, a contemporary of J. S. Bach, the suite did suggest baroque treatments, especially in the Gavotte, yet unmistakably bore Grieg’s signature. The final Rigaudon movement exhibited such infectious cheerfulness that orchestra members could be seen grinning with pleasure as they played.

Next on the program was the premiere performance of Lawrence-area composer William Funk’s “Concert Piece for Strings.” The work, reminiscent of the Schonberg-Stockhausen-Boulez axis, began with a moody, introspective movement. This gave way to a passage of surprising glissandi and finally gained an urgency announced by massive marcato chords in the lower strings beneath the violin melody. One could imagine this “Concert Piece” as the vehicle for a modern dance interpretation.

Edward Elgar’s “Serenade in E minor, Opus 20” followed the intermission, and Elisha described it as “like a waltz.” Unlike his better-known and more heroic compositions, Elgar’s “Serenade” is lyrical and even peaceful, especially in its Larghetto movement, which concluded with a beautifully executed decrescendo, piano-pianissimo-pianississimo and then silence.

The final work, Bartok’s “Romanian Folk Dances,” was the most evocative of dance. Comprising six very brief pieces, each one minute or less, this spirited suite was an audience-pleaser. Elisha explained that the orchestra had adapted the work, originally written for wind as well as string instruments, with lead second violinist Eric Williams playing a very credible flute solo.

The ensemble clearly distinguished each short movement from the others: the “Sash Dance” displayed a definite gypsy or Middle Eastern tinge, while the “Horn Dance” sounded closer to Vienna than to Bucharest. The final “Fast Dance” movement was played to perfection at a breakneck pace, and the audience applauded so long and vigorously that the orchestra delighted them by returning to repeat it as an encore.

– Dean Bevan is a professor emeritus of English at Baker University. He can be reached at bevan@ku.edu.