Grams brought a chamber music sensibility to the Romanze, hosting as it does shapely solos for oboe, cello and violin; the American strode forcefully through the slightly four-square scherzo, but remembered Schumann's dreamy alter ego, Eusebius, in its trio.
Cellist Lynn Harrell was no doubt the reason for a healthily filled Town Hall and his perfectly gauged opening cadenza of Elgar's Cello Concerto was a portent of superb music-making to come.
There was a fragile beauty to the Moderato as Harrell and the orchestra explored that wafting melody that seems to exist in a land where time stands still.
Fire would come in the final movement, but not until the long-breathed phrases of the Adagio transfixed us, especially when soloist and conductor invested that hurrying moment in the score with an almost unbearable tension.
Harrell's encore was Bach's very first Prelude. It had a story to tell, and did so in the most direct and unaffected manner.
Perhaps I was not alone in recalling earlier Elgarian emotions as the American cellist built up to a triumphant signing-off.
CONCERT
What: New Zealand Symphony Orchestra
Where: Auckland Town Hall
When: Saturday.