Huang Ruo was born on poverty-stricken, rural Hainan Island in 1976, the year the Cultural Revolution sputtered out with the death of its leader Mao Zedong. A half century later, Hainan—China’s only tropical island—has exploded into the world’s largest Free Trade Port, and Huang Ruo is a New Yorker, churning out quantities of music that builds airy bridges between his old and new worlds. Folksongs for Orchestra, which opens Ludovic Morlot’s “East Meets West” program, is a fetching example. Next up, Wu Man, her name synonymous with the pear-shaped, four-stringed Chinese lute known as the pipa, introduces a new concerto by Mason Bates, deft juggler of classical and electronic sonorities. That wraps up the Eastern (read “Asian”) portion of the evening, but the innovative strain continues with the premiere of Eímear Noone’s Five Pieces in L.A., billed as “a contemporary portrait of Hollywood.” The expat Arnold Schoenberg, renowned in Hollywood for his tennis game, gets the last word with his Chamber Symphony No. 2, Op. 38. In this case “East” means Germany, where Schönberg (as he then was) embarked on the piece in 1906 but left it a fragment. Not until 1939, when he was settled on the West Coast, did he finish the job, at the request of Fritz Stiedry, recently settled in New York, but in a previous life in Vienna, a right-hand assistant to none other than Gustav Mahler. —Matthew Gurewitsch