In a place known as the “Sunshine State,” it seems impossible to add any more rays of light. That is, until you encounter Sarasota Orchestra Music Director Giancarlo Guerrero.

With his infectious smile and ample exuberance, Guerrero seems as embedded in Sarasota’s ecosystem as the eternal sunshine. Which is why the fact that the May 16th’s “Discoveries: Unfinished Business” concert at the Sarasota Opera House concluded just his first season as music director might come as a surprise. 

You never know what to expect when listening to Schubert’s 7th — or was it 8th? (a perennial debate) — “unfinished” symphony. Here, the ensemble’s strength stood out in the solo moments and dramatic pauses. Each solo was not a sparkly, individualistic display but rather the echo of a central melody that demanded attention to the differences in timbre and sonority of each instrument.  

A rather Beethoven-esque finish (if I dare to write that without Schubert crawling from the grave to stab me with his baton) concluded the first movement in a manner so exciting that a seasoned audience couldn’t resist clapping. For the first time in my life, I can’t say I blamed them. The second movement displayed the maximum dynamic power of the string section before settling into a gorgeous harmony and sound as rich and decadent as Swiss chocolate. 

Julia Perry’s “Short Piece for Orchestra” started with a flourish and sped into a flurry of jazzy harmonies, explosive percussion, and lilting melodies that paused briefly before whirling into a glorious finish. Like the Schubert, it highlighted ensemble cohesiveness with passing melodies but added the challenge of difficult rhythms, multiple pauses, and tempo changes. 

Guerrero’s excitement over this work in particular was tangible — and understandable. A prolific African American composer in the early 1900s, Perry’s work was often overlooked during her lifetime. Her inclusion in the program nodded to the unfinished business of discovering and showcasing the talent and work of lesser known artists in history. 

The star of the evening was Haydn’s Symphony No. 45. “Papa Haydn,” as Guerrero called him, was that rare prolific composer who wrote most of his work for one person: in this case, Prince Esterhazy, a Hungarian prince in the Habsburg Empire who was an enthusiastic patron of the arts. Haydn’s 45th symphony is also known as “Farewell,” an allusion to its cheeky response to a certain summer when the prince became a little too caught up in his vacation and refused to let the musicians return home to their families.

The first three movements were classic Haydn: light notes and dramatic minor chords with all the gusto of a good summer rainstorm. But halfway through the fourth movement’s frenzied rush of notes, Guerrero closed his score, picked it up, and wandered around the stage. You might picture him with a thought bubble: “All right, this looks good, I’m going home now!” 

Other musicians soon followed suit. Many different exit cues were observed: opening a bottle of wine, donning a baseball cap, answering phone calls, mopping sweaty brows, waving unenthusiastically, and even literally taking their playing elsewhere by strutting off the stage with the bow still moving. Each iteration brought the original stage directions (to blow out a candle on the stand before leaving) humorously into the 21st century and was met with raucous laughter. 

Finally, we were left with only two violinists, who finished the piece, shrugged, and stood up. Guerrero poked his head out and reemerged, Champagne glass in hand, followed by the rest of the orchestra, to take a well-deserved bow. 

Guerrero’s selection of Haydn’s 45th as the final performance in a stunning first season with the Sarasota Orchestra demonstrated the love of humor and mischief he shares with the famed composer. I look forward to discovering what Guerrero’s sophomore season has in store.

Sarasota Orchestra’s “Discoveries: Unfinished Business,” reviewed May 16 at the Sarasota Opera House, 61 N. Pineapple Ave., Sarasota. No additional performances.