A percussion concerto, that rarity of the concerto world, with its splashy array of drums, mallets, gongs, blocks, bells, and thingamabobs, is exciting even before the first note sounds.

Serving as both the orchestra's backbone and special effects department, percussionists are usually hidden at the back of the stage and are often the culprit when audiences start whispering, "What was that?" A concerto places it all right up front, where audiences can enjoy the splendor of these most physical, most visual of instruments.

On Friday, the Honolulu Symphony, under the direction of guest conductor Roberto Minczuk, showcased James MacMillan's percussion concerto "Veni, veni, Emmanuel" (O Come, O Come, Emmanuel), featuring soloist Colin Currie from Scotland.

"I've played this piece probably 80 times, the first time when I was 19," Currie shared before the concert. "I didn't get (the instruments) lined up until the first rehearsal, and that's when I realized I had to tear around a bit. You have to be able to breathe well, so I do keep running (to stay in shape)."

"Veni, veni, Emmanuel" proved to be a work of moments, including loud, fast, showy orchestral cacophony of the type audiences love to hate, but more often of tight interplay between orchestra and soloist, of exciting rhythmic passages and intriguing timbral effects. The marimba cadenza, with its duet with violinist Ignace Jang, was wonderful; the virtuosic vibraphone passage, with its alternating rhythms and melodies, breathtaking; and the entire rhythmic duet between Currie's temple blocks and cowbells and the orchestra, thrilling.

Best of all was without doubt the delightful finale of Currie on chimes at the back of the stage, amid a growing chorus of silver raindrops — triangles, finger cymbals, and a variety of hardware played by musicians throughout the orchestra, including the conductor.

"This will be the first time you'll see the conductor playing something with the orchestra," Minczuk said. "It's going to be my debut, actually, as a percussionist."

Intermission was filled, as it should be, with clusters of people talking animatedly about the piece, the instruments, the sounds, their reactions and impressions, expressing opinions both positive and negative, both informed ("Did you see his mallet technique?") and uninformed ("I loved all those little thingies at the end").

Band and orchestra directors all over the island should pack up their percussionists for a field trip. As one young percussionist in the audience enthused, "It was so cool!"

The MacMillan was sandwiched between two much-loved standards: Wagner's Overture to "Rienzi" and Dvorak's Symphony No. 9, "From the New World."

Minczuk consciously strove to balance the orchestra for clarity and to provide new insights.

As a visiting conductor, Minczuk explained, "I'm going to these orchestras that know these pieces so well, they know every note of it. So, you're either going to just play it or you're going to explore every phrase and rediscover the beauty of it. I chose the second one."

Minczuk resolutely resisted the tendency to rush familiar music, choosing instead leisurely tempos that gave each phrase its due and allowed the music to expand into the fullness of its expression. In the last two movements of the Dvorak, the pacing seemed to stretch the limits of momentum, but Minczuk held it all together for a satisfying close.

In response, the orchestra seemed to hear the music anew, producing moving solos throughout, the most memorable including Jason Sudduth's extended English horn solos in the second movement and Scott Anderson's clarinet solos in the fourth.

Some of the evening's best playing came from sections, most often the strings, but especially the full battery of brass.

At evening's close, the audience applauded long with appreciation, many of them humming as they departed.