MUSIC REVIEW : Salonen Conducts Philharmonic, Electric Phoenix

There was little more than an hour of music on Esa-Pekka Salonen’s program for the Los Angeles Philharmonic this weekend at the Dorothy Chandler Pavilion. There was no shortage of philosophical and aesthetic grapplings, however, or sonic thrills.

First there was “Sinfonia,” Luciano Berio’s syncretic monument that the orchestra last played in 1984 with the composer conducting. Then came Richard Strauss’ tone poem “Also sprach Zarathustra,” an effective partner in ambition and virtuosity.

“Sinfonia” broke new ground in the late ‘60s when it was composed and revised, but there was nothing experimental about it in Salonen’s hands. The naturalness with which it developed removed any suggestion of dated gimmickry in the fractured vocalizations and the central web of quotations.

In fact, Salonen brought such serious control to the piece that much of its sardonic subtext was blunted.

On Friday, the Philharmonic played with an intelligence and ardor not always apparent in its approach to music of our time. The brass in particular cut gleaming, inspiriting tracks on the roiling waves of sound.

The multifaceted vocal assignments fell to Electric Phoenix. The British octet recorded “Sinfonia” three years ago with Riccardo Chailly and the Concertgebouw Orchestra, and it sang, lectured, stammered and barked with amplified authority and wit, honing the edges on the piece.

Salonen matched his uncommonly suave “Sinfonia” with a “Zarathustra” of rare--but utterly appropriate and convincing--reflection.

He did not downplay the heroic outbursts or the rumbling fugato agitations. Rather, he integrated the heaving rhetoric into a predominantly lyrical approach, one not shy of menace but supremely confident in exaltation.

The Philharmonic brass again made imposing contributions, but in Salonen’s interpretation this was the hour--well, half-hour--of the strings. Headed by concertmaster Sidney Weiss’ zestfully dancing solos, the strings--at full strength after a reduction for the Berio--delivered warmth without textural compromise.

Indeed, the only sonic debit was the cheesy sound of an electronic organ. This was alert, spacious music making of endless sensual appeal.