The concluding concert by the Portland Symphony Orchestra took place at the Merrill Auditorium on June 21. Due to a “family emergency,” maestro Robert Moody was not able to conduct. His place was taken by assistant conductor Norman Huynh.

Let it be said at the outset that this young man is a talented conductor, one who knows his craft and who conducted with sensitivity, passion, grace and clarity. He also knew the music on the program extremely well and the orchestra followed him. While he tended to leave some rhythmic details to the musicians, this seemed to work out very well for him, at least for this concert.

The concert began with a cruel test for even a seasoned conductor, a work called “Meridian” by Ola Gjeilo (pronounced Yea-lo). This was originally written for piano solo but was skillfully arranged for orchestra by Delwn Case Jr. The work began with an (infernal) ostinato (repeated pattern) in the piano that continued long after the orchestra appeared.

I reviewed a large choral work by this composer a few years ago and described it as beautiful music to view pictures by. I felt that “Meridian” would have made a fine film score. (This is not a put-down at all.) The program booklet lists Joseph Foley as the principal trumpet player and he played a significant solo beautifully in this piece. The form of “Meridian” is A-B-A with the final “A” shortened. The piece would have put any conductor through many musical hoops, and one observed that Huynh was up to the challenge.

The next work had Henning Kraaggerund as the violin soloist in the “Suite for Violin” in a minor by Christian Sinding. That composer’s music was popular around the turn of the 19th century, but his music is hardly known today except for a very few relatively minor pieces.

Kraggerund is a fine performer with excellent technique and musicianship. Playing on a 1744 violin by Guarneri del Gesu, he displayed emotion, superb technique and flawless intonation. He and Huynh made a great team, and they navigated the many changes of tempo seamlessly. It helped significantly that the orchestra must have been well rehearsed and followed soloist and conductor with care. In the second movement, there is a section that the soloist is joined by a solo cello and viola that was a joy to hear.

The next work on the program saw selections from a work called “Equinox” by Kraggerund. Each movement is in a different key as well in a different style, but each is written for violin solo and reduced orchestra.

In one section, each section of the strings is divided with one half strumming (as on a mandolin) and the other playing sustained notes. The two double basses had their hands full skillfully executing the many pizzicatti, or plucked notes. The audience gave the composer/ performer a standing ovation, and Huynh modestly joined in the applause. While modesty does its place, his conducting contributed significantly to the success of the performance.

After intermission, the sole works performed were the two suites taken from the Ibsen’s play “Peer Gynt” by Edvard Grieg. While Grieg was justly known for his piano music, these suites show him to be a skilled orchestrator as well. Normally, performances by these suites are considered fit mainly for the classical part of a pops concert. Other works like the “1812 Overture” or “Bolero” would fit into similar descriptions. However, if the Grieg Suites, (or the previously named works) were given the kind of performance the Grieg works received at this concert, their musical worth would be instantly upgraded. The rendition of “Solveg’s Song” was given a particularly sensitive and expressive reading and I found nothing lowbrow about it.

Huynh did acknowledge the ovation given him at the end, but let the orchestra alone to enjoy the standing ovation they richly earned. The concert will be heard on Maine Public Radio on Wednesday at 8 p.m. A free concert by the PSO takes place Monday on the Eastern Promenade (rain date Tuesday) and also on July 28 at the Waterhouse Center in Kennebunk.

— Morton Gold is a composer/ conductor, retired educator and an arts reviewer for the Journal Tribune.