“To me, "symphony' means constructing a world,” said Gustav Mahler about his Symphony No. 3. The Cincinnati May Festival explored the powerful, awe-inspiring world of Mahler's Third on Friday, in just its third performance since giving the American premiere in 1914.

        From the bold opening brass and gutsy low strings, to the serene, poetic finale, the 100-minute symphony seemed over all too soon. Music director James Conlon brought out details — often glossed over — with such passion and clarity, it was like hearing this epic symphony with new ears.

        The six movements journey through fanfares and marching bands recalled from the composer's childhood, to the hymnlike affirmation of the finale. In between are smaller-scaled movements that capture the beauty and wonder of nature, and are partly inspired by the folk writings, Des Knaben Wunderhorn.

        Mr. Conlon was a magnetic, intense leader over his large forces: the Cincinnati Symphony Orchestra, mezzo-soprano Florence Quivar, Women of the May Festival Chorus and the Children's Choir of Greater Cincinnati. Seemingly at the height of his interpretive powers, he never lost sight of the work's scope, despite an intermission (and applause when Miss Quivar made an entrance after the second movement).

        The first movement was spacious and polished; its military motifs were sharply etched, and the sunny pastoral music was a dreamlike contrast. Principal trombonist Cristian Ganicenco's solo was beautifully shaped; he projected a big, gorgeous tone that was almost vocal.

        The strings glowed seductively in the second movement, a minuet. Mr. Conlon captured the charm and delicacy of the third movement, with its nostalgic memories of childhood, bringing out its whimsical touches. Time stood still during principal trumpeter Philip Collins' posthorn solo.

        The orchestra complemented the warmth and depth of Ms. Quivar's vocal presence in her searching, authoritative rendition of Nietzsche's “Midnight Song.” The Women of the May Festival, prepared by Robert Porco, and the Children's Choir, prepared by Robyn Lana, sang the ensuing Wonderhorn poem, “Es sungen drei Engel” with sweetness and bright tone. But it was the hymnlike finale that brought this universe to a radiant, noble summation, and earned deserving ovations from 2,514 patrons.

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