This evening’s concert contrasts chamber orchestra works from the late 18th century with music from our own time inspired by that period. Mitsuko Uchida plays two of Mozart’s great piano concertos, nos. 17 and 22, from the peak years of his production of these keyboard masterpieces. Though Jörg Widmann stresses his deep connection to the Austro-German Classical and Romantic traditions, his Choralquartett—newly orchestrated for chamber orchestra—bears little resemblance to these earlier works on the surface. Mr. Widmann explains, however, that Haydn’s Seven Last Words was its catalyst. The agony of crucifixion is explored here in a variety of sounds that Haydn and Mozart could have never imagined.