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Mr. Edwards, born in 1943 in Sydney, Australia, composed his 20-minute concerto specifically for the virtuosic Australian oboist Diana Doherty, who also boasts a dancer's nimbleness and an actress's charisma, qualities the composer utilizes in this choreographic concerto. In a completely darkened hall, the fidgety yet plaintive sounds of Ms. Doherty's oboe are heard from offstage. As the light gradually brightens, she becomes visible, a Pan-like figure in a bare-shouldered black jump suit who leaps about the stage interacting with various members of the orchestra.

The ruminative and mystical middle episode, with its hints of Aboriginal folk music, is saved from sounding film-scorish by Mr. Edwards's ear for pungent harmony (remnants of his early days as a serialist?). The sprightly Bartokian finale tries too hard, perhaps, to be engaging. This is a very public piece. But last night the public loved it; Ms. Doherty was a wonder, and Mr. Maazel, who conducted the work's 2002 premiere in Sydney, led a beautifully shaded and beguiling performance.