Music : Salonen Leads L.A. Philharmonic in Characterful Program at Pavilion

An almost definitive trinity of Esa-Pekka Salonen’s current programming interests--classical, contemporary and Nordic--came together on a characterful agenda for the Los Angeles Philharmonic at the Dorothy Chandler Pavilion.

The first half matched Haydn’s Symphony No. 78 in C minor with the local premiere of Elliott Carter’s Oboe Concerto. For both, Salonen used a chamber-sized ensemble, which sounded as small as it looked in the symphony Friday.

Salonen’s Haydn proved highly contrasted here, and repressive in its fierce control and detail. Both the worst and the best of this approach were apparent in the Adagio, where the scared, squeaky opening phrase led into a sublimely nuanced instrumental aria.

It also proved firmly individual--despite the now generic emphasis on clarity and celerity--with an interesting array of orchestral timbres, particularly in the Minuet. The outer movements featured nicely balanced antiphonal effects from the violins disposed on either side of the conductor.

Carter’s 1987 Concerto epitomizes the essential symbiosis of concept and execution, for it would not have been possible without the extended techniques developed by soloists such as Heinz Holliger. The Swiss oboist handled its extravagant demands with astonishing aplomb, making the long-breathed melodies as riveting as the fireworks.

Holliger focused attention on the tangential drama, unfolding like a raucous session of some musical congress. Salonen guided the 20-minute piece to a climax of intense concentration, which then slipped into blissful reverie.

After intermission, a very full orchestra returned for Sibelius’ “Four Legends From the Kalevala.” Salonen made no concession to the fitfulness of the composer’s formulations, stressing instead inevitability in an organic ebb and flow.

His ideas needed a virtuoso blend of expansive sound and disciplined ensemble, which the Philharmonic gave him with impressive authority. At all levels the playing remained warm and purposeful.

Rafters rang and foundations trembled, but there was also room for lyric flowers to bloom without stress. English hornist Carolyn Hove brought melancholy dignity to “The Swan of Tuonela,” and Ronald Leonard imbued the various significant cello solos with pointed grace.