The orchestra shone in the ''Entrance of the Guests" from Wagner's ''Tannhaeuser," Suppe's ''Morning, Noon and Night in Vienna," Boccherini's ''Minuet" and Chabrier's ''Espana." Dashing lighthearted pieces like ''Espana" have disappeared from the normal symphonic repertory, which is a pity -- they are genre masterpieces that audiences love when they get to hear them.
There was also ''Jalousie," voluptuously introduced by Tamara Smirnova's violin, and a pair of tuneful Anderson novelties, ''The Typewriter" (Lockhart called it ''an analog word processor") and the ''Sandpaper Ballet." In these, three Pops percussionists, Frank Epstein, Richard Flanagan, and John Tanzer, matched rhythmic precision with the comic timing of born clowns. A third Anderson bon-bon, ''Bugler's Holiday" came at the end as overtime threatened; Lockhart took off, and the three Pops buglers streaked along with him.
One endangered part of the Fiedler legacy is the concerto section of the program, which used to feature members of the orchestra and outstanding young American soloists. But last night Judith Gordon was on hand for Mozart's A-Major Piano Concerto, K. 488 -- perhaps her last major appearance as a Boston pianist, for next fall she will be teaching, playing, and coordinating concerts at Smith College; fortunately not very far away. She probably didn't rehearse amid the ambient noise of the Symphony Hall lights and fans, so sometimes her limber tone receded from earshot, but most of her playing was elegant, spirited, stylish, and in the Adagio, eloquent.
There was a flustered episode in the finale when piano and orchestra parted company, but everyone kept going and rapidly found a meeting place. Gordon got a nice hand that wasn't restricted to the cheering section of prominent musicians who had come to hear her.
