Most music lovers know The Moldau, the popular tone poem by Smetana. But it's rare to hear the cycle of six symphonic poems to which it belongs, Ma Vlast (My Fatherland), played by the Cincinnati Symphony Orchestra in its entirety on Friday night. (It was played just once before in the 1979-80 season.)

        Rarer still is it to hear such an authoritative performance of this masterpiece of Czech nationalism. On the CSO podium was Prague-born maestro Libor Pesek, who has recorded this and many other works of his countrymen.

        It was perhaps wise to divide the cycle between the two halves of the evening. In the first half, the orchestra was joined by pianist Andre-Michel Schub, who stepped in for an ill Louis Lortie on short notice to perform — brilliantly — the Grieg Piano Concerto.

        Mr. Pesek, who led the Royal Liverpool Philharmonic for a decade until 1997, had the look of an elder statesman as he brought Smetana's epic music vividly to life. Without a score, he led with affection but not sentimentality. The music was rich in nationalistic feeling, yet never exaggerated or bombastic.

        Most impressive was the clarity and precision of the playing, even as he projected the sweeping colors of each piece.

        The Old Castle had a rich, full-bodied sound in the opening brass and wind chorales, with rolling crescendos in the strings. The musicians responded with notable playing, from the opening harp solo (Gillian Benet Sella) to the noble underscoring of the basses.

        The Moldau, with its swirling winds depicting the stream that grows into a broad river, was as stunning for its clarity as for its atmosphere. The “rustic wedding” at its center was a charming folk dance, both brisk and light.

        After intermission, the cycle continued with lesser-known tone poems. Sarka, a bloodthirsty legend of a woman's revenge, had angry outbursts in the brass. From Bohemia's Meadows and Forests painted a musical picture in strong, bright colors.

        The final two, Tabor and Blanik, are based on a Hussite chorale, “Ye Who are God's Warriors,” and evoke Bohemia's struggle for freedom.

        Mr. Pesek captured the majestic tone of the chorale with great, organ-like textures in Tabor. The finale, Blanik,was a crisp march with a charming pastoral intermezzo at its center. This was storytelling at its best: well-calculated and richly evocative.

        Mr. Schub, who is French-born and American-raised, was asked to step in on Tuesday. He was the winner of the 1981 Van Cliburn International Piano Competition, and studied with Rudolf Serkin.

        His playing had confidence from the opening chords, and he injected a feeling of freshness and spontaneity. His technique is spectacular, yet he summoned bravura without flaunting it.

        His lyrical moments were poetic but never syrupy, and his light, quick scherzando passages were the picture of clarity. He swept through the finale with power and drive.

        On such short notice, he might be forgiven a few minor glitches. Although they weren't quite together at the end, it was a superior collaboration, and Mr. Pesek supported him admirably.

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