And what we heard in both concerts did indeed sound good, beginning first with Vaughan Williams’ “The Lark Ascending” and Domonic Dousa’s delicate evocation of dawn in the English countryside, followed by a thin stream of rapturous tone from Yuriy Bekker’s Guarneri violin, a stream that grew into an ecstatic flood that raised the blood pressure of everyone in the room. Every measure we heard from this artist was distinguished by beauty of tone, interpretive insight and acute sensitivity to the contributions of his colleagues. Listening to an artist of this calibre leaves one somehow feeling not only satisfied artistically, but morally elevated.