Music : Walton, Dvorak Program by Philharmonic

Whatever sense it may have made on paper, in practice Vladimir Ashkenazy’s program Friday proved pure motley--three pieces, three distinct, hardly complementary experiences.

Not unsatisfying experiences, though. Ashkenazy and the Los Angeles Philharmonic went two-for-three at the Dorothy Chandler Pavilion through sheer excitement and eloquence.

They fouled out their first time up, however. Ashkenazy opened with the ballet suite from “The Wise Virgins,” a pastiche cobbled together by William Walton from various Bach sources.

Walton’s inflated adaptation is terminally respectful, and Ashkenazy’s interpretation was largely a ritual exposition of the overripe instrumentation. The Philharmonic stated the notes stolidly, fluid solos achieving a level of lyric grace in ‘Sheep May Safely Graze.’

There is little inhibition in Walton’s vibrant Second Symphony, however. The outer movements tear along in sassy, triumphantly gaudy energy, while at the center lies an odd sort of mordant voluptuousness.

Ashkenazy let each climax crest naturally, stressing pace and complete clarity of sound and texture. In the fey Lento he extracted maximum passion while suggesting a worldly objectivity behind the sybaritic mask.

The Philharmonic played for him with keen-edged zest. The brittle qualities of the hyperactive movements were fully present, as was the steel beneath the langourous silks of the slow movement. Collectively capable of incisive roars, the players also produced their best in supple, characterful solos.

Contrasting sharply with the urbane and often mocking symphony was the bucolic, genuinely sentimental Cello Concerto by Dvorak. But there was no change in the intensity and self-sufficient excellence of the performance.

The soloist was Lynn Harrell, who has never failed a good tune. The Dvorak is nothing if not good tunes, and Harrell spun lines of rapt, expressive charm, perfectly stated. The master melodist is also no technical slouch. Harrell flew with fleet and articulate poise over all hurdles, making even the most athletic bravura bits sing.

Ashkenazy and the Philharmonic delivered a rich, balanced accompaniment, pertinent and assured in its own right yet a sensitive framework for Harrell’s magic.