UTAH SYMPHONY, Abravanel Hall, Nov. 7; second performance 8 p.m. Nov. 8, tickets at 801-355-2787, 888-451-2787 or www.utahsymphony.org 

The two guests at this weekend’s Utah Symphony concerts — pianist Marc-André Hamelin and conductor Ilan Volkov — have a history of collaboration in the concert hall and the recording studio. The two, in fact, have recorded Richard Strauss’ Burleske, one of the works on this weekend’s program. And since they’ve done it together, one would expect a stellar performance from them.

Ilan Volkov (Photo: Courtesy of Tectonics Festival, Glasgow)

At Friday’s concert the Strauss was, indeed, no less than spectacular. A demanding work, Hamelin gave a dynamic account that lacked nothing for sheer power and vitality. And he also brought well defined lyricism to the quieter sections in this one-movement work.

Volkov offered wonderful support in a collaboration that was between equals. He also coaxed articulate and well crafted playing from the ensemble. And George Brown’s timpani playing, often showcased in duet with the soloist, was superb.

As a prelude to the Strauss Hamelin played Mozart’s Rondo in A major, K. 386, a sunny piece in which Volkov elicited crisp playing from the reduced orchestra. Hamelin’s playing, while good, was not up to the orchestra’s. It was at times a bit careless and frequently sounded mechanical.

Bookending Hamelin’s appearance at the concert are two works by Béla Bartók: the Hungarian Sketches and the Concerto for Orchestra.

The Israeli-born conductor once again elicited clean and precise playing from the orchestra in the Hungarian Sketches. All sections played well and there were numerous outstanding solo moments as well. Particular mention must be made of the solo playing by Tad Calcara, clarinet; Mercedes Smith, flute; James Hall, oboe; and Caitlyn Valovick Moore, piccolo.

The Concerto for Orchestra, one of Bartók’s last works, is also one of his most popular and endearing creations. It’s a fabulous vehicle for the orchestra, and it’s challenging to say the least. It tests the mettle of any ensemble and the players of the Utah Symphony gave a stunning display of their remarkable artistry with their decisive playing that was lyrical, bold, energetic and powerful.

Volkov was commanding in his direction. He knew exactly what he wanted from his band and he got it. It was an incisive reading that delved into the nuances of the score. And all of the sections played magnificently — from the percussion to the strings.

These concerts mark Volkov’s debut with the Utah Symphony. He was impressive on the podium with his impeccable musicality and polished artistry, and hopefully he will make a return appearance to Salt Lake City soon.