To say that the Bangor Symphony Orchestra’s new season started with a bang Sunday would be an understatement. It wasn’t just because Rep. John Baldacci read a letter of congratulations from President Clinton, or because BSO big-time supporter Charles Hutchins announced Gov. Angus King’s declaration that Maine will celebrate BSO Month from now until Nov. 9. And it wasn’t even that the BSO is celebrating its 100th birthday this year.

No, the musicians made this kickoff concert a smashing success. They proved for sure that if you’re going to turn 100, this is the way to do it. From the violent chords of nationalism in Jean Sibelius’ “Finlandia,” to the closing panoply of sonic booms in Ottorino Respighi’s “Pines of Rome,” the BSO gave a triumphantly entertaining concert.

In between were two unusually engaging performances. The first was given by Indonesian-born pianist Eduardus Halim, who has appeared at many of the major concert halls in this country and abroad.

Sunday, he was guest soloist for Bela Bartok’s Piano Concerto No. 3, and showed he has the kind of dash and warmth it takes to move through the moods of a Bartok piece. Folk-tune elements, atonality, and simple, beautiful strains were all at Halim’s lithe fingertips. His type of energy — positive and expressive — delivered the essence of Bartok’s rhythmic richness and dazzling musical color. A true virtuoso, Halim made particularly memorable choices for the shifting tones during the second movement (adagio religioso).

But Halim was not alone in the virtuosity department Sunday. The BSO percussion section pounded its way into the limelight, too. It’s infrequent that this group is highlighted. Nor does the BSO often play music inspired by Haitian drumming patterns and Hawaiian mythology. But Sunday’s concert offered all of this. Two pieces by living composer Christopher Rouse cleared the stage of the full orchestra and brought percussionists Nancy Rowe Laite, Cindy Brooks Bastide, Patrick Bragdon, Chris White and Jay Lavoie to the foreground with a most impressive collection of traditional, exotic and mundane instruments (including a hammer that was banged on a board). The savage war dance, “Ku-Ka-Ilimoku,” and the equally savage, as well as erotic, ceremonial dance, “Ogoun Badagris,” gave the audience a chance to experience the unique and fascinating possibilities of percussion.

Music director Christopher Zimmerman spiffily hopped back into his spot as conductor, giving a sold-out house a taste of the traditional and of the tantalizing. It was a worthy presentation for the first of a series of concerts marking the 100th birthday of this orchestra.