From the New York Philharmonic came a most unusual concert. The first half consisted of two Brandenburg Concertos of Bach; the second half was devoted to Stravinsky’s “Histoire du soldat” (“The Soldier’s Tale”). This was not quite an orchestra concert, in that the Bach required maybe 20 players, and the Stravinsky just seven (plus a conductor, some actors, a few puppets, etc.). Common to each of the performances was Pinchas Zukerman, the violinist and conductor.

Like his fellow violinist Itzhak Perlman and many other instrumentalists, Mr. Zukerman has turned to the baton, and for six years he has been music director of the National Arts Centre Orchestra in Ottawa. He not only played the violin in the Brandenburg Concertos, he led them, sort of.

The first of the concertos was No. 3 in G major, and it went decently. (This was Thursday evening, the first night of the subscription series.) The orchestra’s sound was a little rough, but not displeasing, and its playing was a little thick, but not clumsy. The opening movement was well calibrated, with the musicians showing a nice sense of the music’s rising and falling. There comes a point when the music returns to G major, and here the group indulged in the slightest pause – just right.

The second of the concertos was the elaborate No. 5 in D major, with prominent violin, flute, and harpsichord parts. This time, the playing was not up to professional standards. The small orchestra was ragged, and also inert, musically. Robert Langevin, the Philharmonic’s principal flutist, was strangely reticent. And Lionel Party struggled at the harpsichord. Errors are hard to cover on that instrument, and Mr. Party filled his quota. The cadenza – a shining moment in keyboard music – was an effort, with little of its pleasure and artistry.

Most shocking about this concerto was the second movement, the Adagio, which was tentative, and worse: It was plodding, dull, without breath or beauty. Seldom do you hear such a performance from a professional stage. You would not have approved it from students.

For the third movement, Mr. Zukerman picked a sprightly pace, and he undoubtedly makes a lovely sound on his instrument. And even amid these dreadful goings-on – non-goings-on? – his innate musicality came out.

By their applause, the crowd loved the concertos, as they always do, proving that Bach will have his effect, no matter what obstacles he faces.

“L’Histoire du soldat” was written in the midst of World War I, and appears in several guises: The Philharmonic performed the complete version, which is unusual. Many claim that “L’Histoire” is a masterpiece, while others view it as a kind of novelty act, whose charm long ago wore off. (The complete version, incidentally, is very long: Those not crazy about “L’Histoire” in general would find it taxing.) This has been a good season in New York for Stravinsky’s novelty acts, as the Chamber Music Society featured his “Renard,” a burlesque. (It was charming.)

The Philharmonic’s “production,” if that’s not too grand a word – and I don’t think it is – was by Douglas Fitch. He was billed as the director, designer, and puppeteer, and he put on a good, imaginative show. Mr. Fitch captured the work’s humor, tartness, and eccentricity. Indeed, he aided all that.

The actors were three, starting with F. Murray Abraham, who served as narrator. Mr. Abraham is associated with music, mainly because of his role as Salieri in “Amadeus,” that mendacious, misleading, but very popular movie. He fulfilled his “Histoire” part superbly. The same is true of Tim Blake Nelson, who was the soldier – about him was a wonderful sincerity. Playing the devil was the veteran actress Marian Seldes, who sounded like a cross between the Wicked Witch of the West and Lauren Bacall. It was sometimes hard to make out the words in her throaty delivery – but she poured on personality.

(I should note that the actors read from scripts, seated – except for one time when Mr. Abraham felt it wise to move.)

In Stravinsky’s septet was Philip Smith, who played the cornet, and displayed his usual clear, winning style. Joseph Alessi shows what a beautiful sound the trombone can make, and he has the ability to play loudly without blaring. His tones are rounded. Stanley Drucker contributed spiritedly and dexterously on his clarinet, and Judith LeClair was effective, as usual, on her bassoon. Christopher S. Lamb, the percussionist, was smart all through.

As Mr. Zukerman concentrated on the violin, Xian Zhang conducted. She is the Philharmonic’s assistant conductor and earlier in the season shared a program with the music director – her stated mentor – Lorin Maazel. On Thursday night, as before, she was well prepared, vigorous, and precise. Is she always this adamant?

Whatever the case, it was too bad she couldn’t have conducted the Brandenburgs.