This fascinating and varied program, each piece using equally colorful but very different orchestras and very different forms and structures, shows us some of the breadth of the Sydney Symphony. Their style is nimble enough to express itself in multifarious ways and Ashkenazy’s style and approach to symphonic music is well suited to the three pieces. To mark the occasion of the orchestra’s 80th anniversary, they have done something special in commissioning themselves a new piece by way of an open competition. Elliott Gyger’s entry was chosen, and though only alloted a short amount of time to fit into this larger program of more familiar pieces, it does rather expand under the intensity of its short broken up motifs and its varied colors, sounds and textures, qualities Ashkenazy, at least as a conductor, seems to relish. The piece’s title refers to the SSO’s origin as a radio orchestra formed along with the Australian Broadcast Corporation in 1932. Gyger says he used an ensemble of 17 instruments, the same in the original 1932 radio orchestra, which for his “dialogue” are spread through the larger orchestra: three violins, viola, cello, bass, two each of trombones, trumpets and clarinets, a horn, sousaphone, piccolo, piano and percussion.