The traditional “;all-in-one”; approach, improved with a touch of imagination and a dash of originality, does work. Just a year ago, principal conductor Andreas Delfs introduced a new era for the Honolulu Symphony, promising innovative programs and focusing on quality of performance. Indeed, his promise and focus have become reality in this first stretch of the season.

The pieces in each concert have been combined under common themes, in a manner customary to most regional symphonies. Typically a performance might include pieces by the same composer, incorporate all-American or all-Russian works, or perhaps be the celebration of a great soloist. More in the abstract, concert themes are also “;Depth and Passion”; or “;Joyful Moments.”; Certainly poetic, but a bit generic.

But the all-in-one idea, as Delfs has demonstrated so far, can take a more interesting turn. Yes, the first concert of the season was an all-Brahms celebration with a customary concerto and a symphony, but the order in which the pieces are usually performed was rearranged to give the soloist more attention and time.

In mid-September, the formula applied in a memorable and rare execution of Wagner/Maazel's “;Ring Without Words.”; Prominent conductor Lorin Maazel arranged the cycle of four Wagner operas - The “;Rhinegold,”; “;Valkyrie,”; “;Siegfried”; and “;Twilight of the Gods”; - in one orchestral work, keeping the most “;representative”; and well-known sections of the original music. It was like a Reader's Digest version of a multi-volume epic - a 70-minute reduction of a

17-hour operatic tour de force. Lots of material, but Delfs made those minutes a truly magnificent experience.

The orchestra followed his interpretation, alternating the extreme musical motions of the cycle, while keeping the work's logic. Not an easy endeavor and the enthusiastic audience recognized it.

The concert was also very balanced. Preceding the “;Ring,”; violinist Cho-Liang Lin played Prokofiev's Second Violin Concerto with great lyricism, with a beautiful second movement, especially after the haunting darkness of the motive in the first movement.

  A concert rarity is the all-American program. It was a treat to finally hear four American pieces in one evening - too often concert halls and “;American cultural historians ... ignore the complex and fascinating saga of our musical high culture,”; as American music expert Joseph Horowitz put it.

“;Appalachian Spring: Ballet for Martha”; by Aaron Copland - the “;dean”; of American composers - opened the concert with his fresh American sound. Then, cellist Alisa Weilerstein performed Samuel Barber's Cello Concerto, not as famous as the first piece, but conventional enough in structure and romantic content to reach a large audience.

The novelty of the evening was Pulitzer Prize-winning Joseph Schwantner's “;Chasing Light ...”; The performance was one of a series sponsored by the Ford Made in America program, which has a goal of promoting living American composers through 58 orchestras in

50 states. Based on a poem written by the composer, the four-movement work with no pause is built on “;major choirs in the orchestra”; and “;a cascade of sounds,”; according to Schwantner.

David Miller conducted, pacing the piece through its depiction of New England's landscape as it changes through the day. As with the preceding pieces, it was quite easy on the ear, appealing to the majority in the audience. It also gave several symphony musicians -especially drums and brass -the chance to display their sensibility and skills. Gershwin's “;An American in Paris”; ended the program on a familiar note.

  Then, three-in-one: three of the most popular and arduous piano concertos played by three soloists in one evening, under guest conductor Mei-Ann Chen's baton on the third weekend of October. Rarely performed in the same program, each work has its specific audience, but all are challenging on the technical side.

Liszt's First Concerto with its dramatic acrobatics (performed by Norman Krieger) always fascinates pianists and Liszt fans. The evocative melancholy of Grieg's Concerto (Sean Kennard) makes the audience dream and its secure position in the piano repertory makes all piano students curious. Finally, Rachmaninoff's Second Piano Concerto (Jie-Chen) delights all listeners who believe in the instrument as an expressive tool with seductive powers (remember Tom Ewell and Marilyn Monroe in the 1955 film “;The Seven Year Itch”;?) All in all, a great evening, even if all those notes and interpretations gave the event a little bit of a “;recital”; character.

The all-in-one formula continues this weekend with an all-Strauss event. But watch out, it won't be just one Strauss. Don't let the alternation of music by Johann and Richard confuse you. Those two are the most unrelated Strausses in the world of music. The concert will feature accomplished symphony oboist J. Scott Janush, and therefore will be a particularly exciting event, knowing how Janush can treat sinuous melodies.

  This weekend's All-Strauss concerts are at 8 p.m. Saturday and 4 p.m. Sunday at Blaisdell Concert Hall. Call 792-2000 or visit www.honolulusymphony.com.