For someone like me, who had not crossed paths much with the Venezuelan conductor Gustavo Dudamel since his early appearances in New York more than a decade ago, his three concerts with the Vienna Philharmonic at Carnegie Hall over the weekend held considerable fascination. What sort of chemistry might have developed between a once-brash wunderkind, now 37, and one of Old Europe’s most august ensembles?

There was, for one thing, the matter of Leonard Bernstein, the quintessential New York maestro and a sort of Dudamel archetype, born a century ago this year. After ignoring invitations to conduct the Vienna Philharmonic for years because of its deep involvement with the Nazi regime during World War II, Bernstein finally acceded in 1966 and became a favorite of the ensemble in later decades.

It was surely too much to hope that Mr. Dudamel, the music director of the Los Angeles Philharmonic, would lead the players, twirling their instruments, in a raucous account of “Mambo” from “West Side Story,” as he has often done as an encore with the Simón Bolívar Symphony Orchestra of Venezuela. But sure enough in the concert on Friday, which opened an Americas Tour with the Philharmonic, there was a Bernstein trifle to start off a rich slate of encores: the Waltz from his Divertimento for Orchestra. (The other encores were by Josef Strauss on Friday and Saturday, and Tchaikovsky on Sunday.)

There was another possible nod to Bernstein in the program itself on Sunday afternoon: Charles Ives’s Second Symphony, a somewhat baffling cornucopia of Americana, and a bit of an adventure for the Viennese. Bernstein gave the premiere of the work with the New York Philharmonic at Carnegie in 1951, nearly half a century after it was written. It is entirely possible, given the Vienna Philharmonic’s incremental (not to say glacial) and often indirect way of deviating from its norms, that this was intended as a significant tribute to Bernstein.

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