The Orion String Quartet explored the music of explorers last night, works written as centuries turned and composers set out to go boldly, or not so, where no one had gone before.

It is a timely theme, of course, and the quartet successfully brought it to life in works by Purcell, Beethoven, Ravel and Norgard. In fact, the quartet proved chameleonlike in its ability to transform itself according to the demands and styles of each period and composer.

The concert was performed at the Southern Theatre as the last event on this season's Columbus Chamber Music Society series. Headquartered in New York, where it is quartet-in- residence at the Chamber Music Society of Lincoln Center, the Orion includes violinists Daniel and Todd Phillips, violist Steven Tanenbom and cellist Timothy Eddy.

The Phillipses alternated first-violinist duties. Todd sat in the first chair for the Purcell Fantasia and the Ravel Quartet in F Major. Daniel moved up for the Beethoven Quartet in C Minor, Op. 18, No. 4, and the Norgard Into the Source: Quartet No. 9. It seemed to make sense, given the apparent temperamental and timbre differences between the brothers' playing.

The Fantasia is among the first set of such works by the composer for families of viols. The quartet kept its family of modern instruments soft-spoken but cleanly articulated for an elegant reading.

By contrast, the group seemed hellbent on demonstrating once again Beethoven's revolutionary spirit in its powerful, if rather strident, C Minor Quartet. Alas, the work's cheeky scherzo and searching minuet came across overblown.

Like several other ensembles, the quartet has championed contemporary music by commissioning new works. This is a noble, not to mention necessary, pursuit for anyone who cares about the health of the music we love.

That said, I am not sure I would choose the Danish composer Per Norgard as the standard-bearer of the genre going into the 21st century. His Into the Source sparks one intellect. He is a skilled composer with intriguing ideas and a challenging idiom.

But captivating? Lovable? Perhaps not.

As one looks at the landscape of classical music in 2002, one hopes for more music that we can take to our hearts and souls, as we have the great works that have come before.

The famous Ravel Quartet in F Major is a favorite of all chamber- music aficionados. Last night's reading found the quartet at its pinnacle. All the finest hallmarks of the ensemble's style were there -- exquisite balance, informed interpretation and polished delivery. But here, also, was a lovelier, richer, kinder sound.

Such a reward is always worth the wait.