It was great to see – and hear – the Charleston Symphony back at the Sottile Theatre again. The occasion was Friday evening’s opening concert of the CSO’s new “Backstage Pass” series, formerly known as “Casual Classics”.

The similarities? The emphasis is still on smaller-scale orchestral classics; mostly accessible, appealing material by “cool” modern composers … none of that clattery, atonal stuff that passed for “new music” a few decades back. The series’ laid-back, informal atmosphere means you can come as you are. The musicians don’t dress up, so why should you? Also, resident conductor Scott Terrell offers chatty musical commentary from the podium between numbers, with demonstrations from the musicians … helping listeners understand what’s going on.

Differences? For one, it’s not going to kill your whole evening anymore. These affairs all start at 7:00, with hour-plus programs that run straight through (no intermission), putting you back on the street by 8:30, with plenty of party time left over. Show up early for a cocktail hour if you please, and you can go hang out with the musicians afterwards at a nearby food & drink emporium: this time it was Yo Burrito around the corner on Wentworth Street.

Well, how’d they do? Very nicely, I thought. The music of Argentina’s finest modern composers was on the menu. The appetizer was Tangazo, by Buenos Aires “Tango King” Astor Piazzolla, a genius who added classical complexity and structure (not to mention some far-out sounds) to the sultry sensuality of his nations’ best-known dance form. A real treat.

Next came Last Round, a tribute to Piazzolla by contemporary sensation Osvaldo Golijov. It’s an unusual piece – scored for two string quartets that share a central double bass, plus a backup complement of strings. The piece unfolds as a breathy “idealization” of Piazzolla’s own instrument, the Bandoneon (a small accordion). It begins with a near-violent give-and-take between “dueling quartets” that reflects Piazzola’s lifelong penchant for barroom brawling – but then it gives way to a soft, sighing conclusion that puts the composer’s spirit to rest (Piazzolla died in 1992). Amazing stuff.

The program finished up with Alberto Ginastera’s very tricky Variaciones Concertantes for orchestra. The work bursts with South American style and spirit, but without the use of actual Argentinian folk material. It began with a lovely slow theme for cello and harp, progressing thence through eleven virtuosic and musically solid variations that gave just about every one of the orchestra’s principal players their chance to shine. As Terrell pointed out, not just any orchestra can rise to the considerable challenges this piece presents … all the more reason to take real pride in our hometown band.

So you don’t care to mingle with the senior crowd at the Gaillard for the same old classical fare by dead white European men? Hey, there’s still a place for that, make no mistake. But here’s your chance to find out where classical music is right NOW – and where it’s going – and what it can do for hip, younger ears and minds. With nary an elevated pinky in sight, you don’t have to put on stuffy airs or observe the fine points of concert etiquette and dress anymore. Give Backstage Pass a try – and I bet you’ll keep coming.

Uh-Oh … I forgot my earlier promise to link you to my printed review of last week’s Masterworks opener: Carl Orff’s big, bad blockbuster, Carmina Burana. HERE it is. Stay tuned for more. And never stop listening.