Brönnimann elicits a serene poetry to match Hardenberger’s fluent, fluid lines and leaps.

The good news is Mark-Anthony Turnage’s wonderful first trumpet concerto From the Wreckage wasn’t a one-off after all.

Commissioned by Janet Holmes à Court AC and the Making Music Together Patrons for the West Australian Symphony Orchestra, Turnage’s new trumpet concerto Håkan written, like the first, for Swedish trumpet virtuoso Håkan Hardenberger, last week received its world premiere in the presence of the composer.

And, like the first, it is a masterpiece. Of course just about anything would sound like a masterpiece in Hardenberger’s hands. But Turnage’s unequalled ability to absorb disparate styles so stylishly, uncompromisingly and yet strangely accessibly – jazz, as always, and in both the slow opening and the middle Arietta there are again shades of the mellow Miles Davis, 60s London jazzmen et al but in this instance also the music of the Pamir mountains (the first-movement Falak) and the time-honoured chorale variation form (final movement) – has again shown him for the modern master he is.

Is there a zone within the zone? If so, not just Hardenberger but the players of the WA Symphony Orchestra under the urbane yet always exciting Swiss-born conductor Baldur Brönnimann were...