Signaling with his left hand, held aloft like a tuning fork, Dudamel guided his players — they included seven percussionists and nine double bassists — through Corigliano’s maze of cross-cutting rhythms, textures, moods. “Tarantella,” the second movement, juxtaposes a jaunty Italian dance (of steadily increasing speed) with hard-spliced hallucinatory episodes — all of this recalling another late friend’s descent into AIDS dementia. It was whirlingly rendered; virtuoso playing.

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Formed in the late 1970s, the Contra Costa Chamber Orchestra has established a presence throughout the county. The orchestra is comprised of 45 musicians ranging in age from 15 to 94 who are music teachers, accountants, students, electricians, mechanics, homemakers, lawyers, retirees, dentists, engineers and computer specialists. Primarily Contra Costa residents, their only remuneration is the stimulation and satisfaction of rehearsing and performing together. Tickets are $15 for adults, $12 for seniors and $7 for students.

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The other vocal roles — a quartet representing Anna’s family, who make wry comments on her progress at key intervals — were sung with robust energy and tonal assurance by tenors Joseph Meyers and Mark Hernandez, baritone Jordan Shanahan, and bass Kirk Eichelberger. The singers also excelled in the second half’s set of songs composed by Weill in New York. Holmes introduced these with the Overture to the Weill musical “One Touch of Venus,” noting just how far the composer had come in his move to America. In this swinging, jazzy music, and in other Weill songs from 1938-48 — during which the composer collaborated with lyricists from Ira Gershwin to Ogden Nash — one could hear the ways that Weill paved the way for 20th century works by Leonard Bernstein, Marc Blitzstein, Stephen Sondheim, Kander and Ebb and others.