A spritely cyborg makes her way into the Ordway Concert Hall for the world premiere of the St. Paul Chamber Orchestra co-commissioned piece, “The Evolution of AI” for Chamber Orchestra and Electronics, by composer and musician Clarice Assad. The work appears in an SPCO program bookended with works by two Czech composers, in an evening creatively led by SPCO violinist Daria Tedeschi Adams.

The nostalgic “Mládí (Youth)” for Winds by Leoš Janáček is performed superbly by six wind players at the start of the program. The instrumentalists plunge into the fast-paced Allegro movement, sometimes playing in harmony, with moments where one instrument will spurt off in one direction.

After that movement’s abrupt end, bassoonist Andrew Brady begins the more somber Andante sostenuto movement. He’s eventually joined by the other musicians as the music paints intricate patterns. Julia Bogorad-Kogan’s vivacious piccolo playing launches the third movement, with lovely melodies, quick steps and an impish quality, followed by the full sound and cascading flourishes of the last movement.

Composed as part of the SPCO’s Sandbox Residency, and co-commissioned with New Music USA’s Amplifying Voices program, Assad’s “The Evolution of AI,” second on the program, boasts Assad’s use of cutting edge electronic musical devices, a theatrical and even dance-like presence, and keen orchestral composition.

Assad wears a glittery, silver bodysuit for the piece. She “reboots” by playing an electric drum with distinctive, broad gestures. Assad mesmerizes as she performs her various electronic gadgets, which respond to her movements and create eerie sounds that are supported by the SPCO musicians. There’s an especially startling relationship between Assad’s electronic percussion and Matthew McClung’s use of drums. Later, she gestures as if manipulating the orchestra itself.

Assad moves mischievously as her character “gathers data,” listening to snippets of famous musical pieces from the canon of Western music. Vivaldi, Beethoven, Tchaikovsky and more enter into Assad’s robotic learning experience, eventually reaching a cacophony of sounds.

Thankfully, Assad didn’t actually use artificial intelligence to create the composition. Instead, her very human brain invented this playful meditation on AI technology.

After intermission, the orchestra performs Adams’ arrangement of Bedřich Smetana’s Quartet No. 1 for Strings, “From My Life.” Written as a quartet, Adams has transformed the work for the entire string ensemble of the orchestra.

With the exception of the cellos, the players stand for the performance, as if they were all soloists playing together as a group. Adams emphasizes the notion of individuality within the group by sprinkling solos for different musicians throughout the work.

The work reflects not only on Smetana’s life, but the cultural influences that defined his identity. Polka dancing music, for instance, characterizes the second movement, after the dramatic chills produced by the first movement.

The third movement begins with a cello solo, and builds into a sweeping romance. The last movement begins spiritedly, abruptly changing direction when a high, piercing note disrupts the piece entirely. Introducing the work at the beginning of the concert, Adams noted that the high note signified the moment Smetana went deaf.

In her speech, Adams said she tried to keep the intimacy of Smetana’s quartet. She does this while also capturing the grandeur inherent in the music as well.

If you go

Who: The St. Paul Chamber Orchestra with Abel Selaocoe

What: Assad, Janáček and Smetana

When: 7 p.m. Saturday

Where: Ordway Concert Hall, 408 St. Peter St., St. Paul

Tickets: $12-55 at thespco.org

Capsule: Daria Tedeschi Adams has organized a gorgeous concert featuring the talents of two Czech composers and a new commission and world premiere by Clarice Assad.

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