With Norris’ almost terrifying crescendos, rivulets of cascading woodwind and percussion outbursts, as much Pacific Ocean as Black Sea, he did full justice to a similarly fine composition.
There were more thrills to come at encore time, with Hall delivering Kenji Bunch’s Next Train, in the manner of a breathtaking bluegrass breakdown.
Orchestrally, the rest of the evening had been French, right through to a blistering Ravel Bolero, in which musicians seemed to be making an extra special effort to bring individual colour and nuance to their solos.
Imaginative programming had opened the evening with Debussy’s Printemps, an early work, reconstructed by his friend Henri Busser.
Although conservative alongside the composer’s later pieces — even L’Apres-midi d’un faune was seven years away — its unfailing stylishness and elegance was beautifully rendered, with the luxury of not one but two pianists sharing the Steinway.
The meticulous Aadland illuminated the 18th century dalliances of Faure’s Masques et Bergamasques with just the right crispness, burdened only by a dull minuet movement.
However, a subtle and shapely Pastorale led to a palpable crowd-pleaser in the same composer’s Sicilienne, featuring that exemplary flautist Melanie Lancon.
This Thursday, the town hall hosts one of Auckland Philharmonia’s innovative 6.30 concerts, with French conductor Pierre Bleuse, inviting us to luxuriate in the full romantic splendour of Tchaikovsky and Wagner . . . and still make that 8 o’clock dinner date.