Light and shade in a program of delights MUSIC Sydney Symphony. Oboe: Hansjorg Schellenberger. Conductor: Vladimir Ashkenazy. Concert Hall, Sydney Opera House, May 15. VLADIMIR Ashkenazy holds William Walton's first symphony in the highest esteem. The Sydney Symphony maestro is right to do so for it is one of the greatest symphonies of the 20th century. Conductor Hugh Wolff's 2009 account of this symphony was one of the best performances I've heard from this orchestra. While Ashkenazy's interpretation couldn't quite match its precision and near immaculate ensemble, it certainly captured its multifaceted character. Rhythmically complex, Walton's first symphony benefits from a bold approach. Ashkenazy gave it one. Although controlled and considered, there was always a sense of risk-taking danger to this edge-of-the-seat performance. In the outer movements, the performers' speed and rhythmic acuity generated excitement. Just as important, Ashkenazy's judiciously applied doses of ritardando and accelerando and dynamic control intensified and loosened the tension. The inner movements received slightly different treatment. In the scherzo, the orchestra's whirling dervish-like textures captured its nervous energy and savagery. The slow movement is the symphony's emotional core. Eloquent phrasing created an atmosphere of tragic anguish. Granted, there were occasional instrumental blemishes and imprecise entries but these barely detracted from what was an impressive account of this challenging masterpiece. In his time with the Sydney Symphony, Ashkenazy has proven to be an outstanding Tchaikovsky interpreter. His versions of The Queen of Spades and Manfred symphony, in particular, have ranked among the orchestra's finest performances of recent years. This account of the Romeo and Juliet Fantasy Overture was their equal. Swift speeds and powerful staccato chords generated vigorous tumult in the passages depicting the warring Montagues and Capulets. In the famous love scenes, the silky-toned strings shaped the ardent theme with passion and immediacy. Richard Strauss's oboe concerto was one of the finest flowerings of his extraordinary compositional Indian summer of the late 1940s. Unfortunately, oboist Hansjorg Schellenberger and the orchestra were unable to realise its elegant character. Still, Schellenberger impressed with scintillating passagework and clear articulation. However, too often his tone's shrill edge undermined the concerto's lyrical beauty. The orchestral accompaniment also had its problems. Although largely stylish and sensitive, the textures sometimes lacked clarity and definition. Concert repeated tonight and tomorrow night. Tickets: $35-$125. Bookings: (02) 8215 4600 or online.