With the second classical concert of the season completed, the Bangor Symphony Orchestra is showing itself brightly disposed under the direction of conductor Christopher Zimmerman. At Sunday’s concert at the Maine Center for the Arts, the symphony had a mannered style that increasingly seems to be Zimmerman’s mark.

This was particuarly clear in the first piece of the program, Franz Shubert’s Symphony No. 5 in B-flat Major. Beginning with the brisk first movement, the musicians played with both power and lightness. In the Andante con moto, Zimmerman pulled them back smoothly to a carefully paced, rhythmic slowness.

And the third movement, the Menuetto e Trio, the expression went from regal to light as a whirling dance gown gliding across a ballroom floor.

But it was the last movement that had the real excitement. Zimmerman was nearly prissy in his regulation of the tempo. At the most entertaining of moments, he looked like a mad tailor waving his needle with urgency but exactness across a wide panel of cloth. In his insistence, Zimmerman brought out the comic elements of the music. The near absurdity of the speed, which some might have found unadvisedly fast, was really rather gripping.

With the solid support of the cellos and basses, which took primary roles in the absence of brass and percussion sections, the Shubert symphony was full and resonant. The musicians had all the warmth of a chamber group, but never sacrificed the delectable volume of a symphonic presentation.

The focus was not quite as clear and tight in Johannes Brahms’ Symphony No. 2 in D Major, which took up the second half of the program. The sound was every bit as rich as the Shubert, but without the detailed finesse.

The Brahms is a demanding piece because its gentleness can easily slip into sleepiness. Zimmerman caught the subtleties in many of the turns where he brought out the delicacies and complex blends of sounds. But occasionally, there was a muddleness.

Zimmerman lifted the orchestra to its best in jazzy moments, such as at the end of the first movement. He also drove it through an unrestrained final movement in which every instrument played at such a full volume that there wouldn’t have been room for another musical sound in the concert hall.

The real highlight of the Brahms was hearing French horn player Scott Burditt do a fine job with his solo work. His exchanges with flutist Susan Health and oboist Jo-Anna Tensa also had an unforced naturalness and nobility.