Try as I might, I cannot come away from Dame Judith’s music unwounded — in spirit and sometimes also in lower spine. She has previously crossed my path with musical evocations of Chinese opera and the Bayeux tapestry; on the matter of the concerto, in program note and pre-concert chat, she had the gall to pass off this twiddly small concoction as something Mozartian — pinpointing the Piano Concerto K. 449 as the specific target. Is there no justice? Dame Judith’s aspirations have elevated her this time not to anything remotely dreamed of in Herr von Köchel’s catalog, but something closer to the tea-and-crumpets manner of Cécile Chaminade, with a naughty wrong note here and there to tickle the peasantry. Christopher Rouse’s Compline was the attractive ending work, music inspired by the bells of Rome’s churches but actually scored for the instrumentation of Ravel’s Introduction and Allegro: harp, winds, string quartet. Smart coattail riding, that, and smart music as well.