Philosphy was given a powerful voice Sunday afternoon at the Maine Center for the Arts. All but one of the four works performed by the Bangor Symphony Orchestra represented “musical broodings” on the conflict which lies at the root of the human condition.

The first half of the concert opened with Beethoven’s “Egmont” overture, composed in 1809 at a time when Europe was in the throes of social upheaval, and war. For Beethoven, Egmont (the opera’s hero) represents the struggle of man against oppression.

As ever, conductor Werner Torkanowsky’s string section was technically exceptional. However, a new expressiveness, lacking in the past despite growing musical proficiency, was experienced. All of the moodiness of Beethoven was richly conveyed.

The woodwind’s were understated yet lyrical, while the brass though a bit “tart” in places, were quite good.

The first half closed with the cello concerto of late 18th century Italian composer Luigi Boccherini. Boccherini’s challenging string composition, though devoid of philosophy, was a fine showcase for guest soloist Leslie Parnas, who performed on the “Rosette” cello, created by Gofrillo in 1698 (I hope his insurance is up-to-date!). Parnas was not just good — he possessed that emotional “something extra” that draws an audience gut-first into any music. Though unpretentious in his style, he generated far more real electricity and eloquence than last soloist Michael Peskanovsky on violin, who did most of his emoting physically.

The BSO’s strings, though an adequate background for Parnas, still lack fluidity when “following” a soloist.

The second half of the prgram presented a profound — almost disturbing — juxtaposition of compositions: Ernest Blcoh’s “Hebraic Rhapsody” and Richard Strauss’s “Thus Spake Zarathustra.”

Bloch, a Swiss-born Jew, who emigrated to America in 1916, explored through his music what it meant to be Jewish in an era when anti-Semitism was throwing a lengthening shadow across the globe. Bloch found the “voice” his sought in King Solomon’s Ecclesiastes.

The struggle and dark undercurrent of foreboding in “Rhapsody” were granted their full impact through the BSO’s clear, energetic interpretation. Parnas’s solos here, though briefer, were stronger, perhaps because the BSO was more fluent.

The piece was poignantly followed by “Zarathustra” by German composer Richard Strauss (no relation to Austrian Waltz King Johann Strauss and father). “Thus Spake Zarathustra” was inspired by the book of the same name by Nietzche, considered by many the philosophical father of Nazism. The grim power of the juxtaposition was diffused by the BSO’s weak interpretation. Made famous by the use of its opening passage in “2001: A Space Odyssey,” Strauss’s piece as played by the BSO lacked the sense of controlled chaos and rising conflict needed to give it emotional weight. Given too much evenness and brightness by Torkanowsky, the piece seemed flat and anti-climactic rather than soul-probing. Nonetheless, the brass section, notably trumpets, were unexpectedly strong and expressive.