What’s in a name? Apparently not very much in the case of the New York String Orchestra, which has admitted brass, percussion, and woodwind players for many seasons. Inaugurated 39 years ago as an annual seminar for intense study under violinist Alexander Schneider, the ensemble holds a 10-day workshop at the end of each calendar year. Traditionally, the group mounts two concerts at Carnegie Hall, one on Christmas Eve, which I never attend, and one closer to the end of the session, which I endeavor to catch every time. Primarily the age group corresponds to college or conservatory enrollment, but there are always a few exceptional high school students in the mix as well.

On Friday, conductor Jaime Laredo presented what has become a typical NYSO experience, short on subtleties but long on solid ensemble sound. Mr. Laredo is, of course, a world-class violinist and not primarily a conductor. His podium manner leaves something to be desired, particularly in his paucity of cues, but it is apparent that he and his colleagues spend quality time in the preparation of these concerts. Especially for musicians who have just become acquainted with one another, the overall sound is enviable. André Watts behaved himself in a dignified, if a bit sluggish, performance of the Piano Concerto No. 4 of Beethoven. Mr. Watts can be frustratingly inaccurate, but, except for a few passages in the Rondo, was in control this night. He did seem to be in his own little world, several times playing at a different tempo from Mr. Laredo’s charges. But both he and they made excellent music, despite the decided lack of coordination. The orchestra sounded fine, producing a richly blended string sound that could be very powerful when called upon for gravitas.

Hearing Antonín Dvořák’s “New World” Symphony at Carnegie Hall is always a special thrill, since it was given its world premiere there with the composer in attendance. The story that the entire Largo had to be encored on the spot that evening in 1893 seems to be accurate, although the tale that Dvořák came down from his box to conduct this reprise is almost definitely apocryphal. Mr. Laredo led a very exciting realization, notable especially for the enthusiasm of his players.

That storied Largo was exceptional. English hornist Kimberly Everett from El Paso, Texas, offered the solos with a great deal of poignancy and a superb singing line. The flutes were also especially eloquent in this movement, and Mr. Laredo scored many points by taking the pause during the string octet sensitively but decisively. There was even some scattered applause at the movement’s end, a rarity for the slow section of any classical symphony.

There were some problems with the performance as a whole, particularly the brass chorales, which invariably commenced with six or seven entrances rather than the desired unison, but the sound of the aggregate brass was suitably holy each time it crystallized. The Allegro con fuoco was thrilling and, even though the ending was much too loud, the effect on the audience was intense visceral excitement.

The program also included the New York premiere of Adagietto for String Orchestra by Richard Danielpour, a composer who has run afoul of the critical community because his music tends to be tonal and accessible. He has the temerity to fashion pieces that audiences can enjoy — roughly the equivalent, in insular contemporary circles, of composing a poem that rhymes.