It was impossible to escape the imagery of the catastrophic events of Sept. 11 that were conjured in Kevin Puts' Symphony No. 2, given its world premiere by the Cincinnati Symphony Orchestra on Thursday.

        The engrossing new work was just one facet of an intriguing program led by music director Paavo Jarvi, that included a sparkling performance of Ravel's G Major Piano Concerto by Jean-Yves Thibaudet, and ended with a hair-raising Symphony No. 9 by Shostakovich.

        Mr. Puts' Symphony No. 2 was commissioned by the Barlow Endowment for performance by the CSO and the Utah Symphony. It is one of the first artistic responses to come to the public in the aftermath of Sept. 11.

        The symphony is cast as one movement in two parts: the first, reflecting the innocent climate before the terrorist attacks; the second, the unsettled mood after.

        The composer created lovely effects in the sustained beginning, with spacious harmonies that echoed Copland, gently fluttering woodwinds and a majestic anthem.

        A violin transition (concertmaster Timothy Lees) led to an explosive crash, which dissolved into a storm of swirling textures. Mr. Puts crafted a dissonant narrative over an omnipresent pulse, and perfectly captured the mood of fear and uncertainty. The work concluded with a delicately colored “chorale requiem.”

        Mr. Jarvi's reading was both penetrating and powerful, and the audience gave the 30-year-old composer a standing ovation.

        The glittering pianism of Mr. Thibaudet, a native of Lyon, France, was an ideal match for Ravel's Concerto in G. The pianist made the most of its jazzy elements. Mr. Thibaudet's playing was infectious.

        The slow movement was beautifully shaped, though I wished for more ringing tone in the piano. Part of the joy was the striking orchestral color, including the stunning duet with English horn (Chris Philpotts).

        Mr. Jarvi concluded with a bristling, biting and sophisticated reading of Shostakovich's Ninth — a scathing indictment of what Shostakovich really thought of Stalin.

        His interpretation was pointed, quick and full of character from the outset. The first movement, which recalls Prokofiev's Classical Symphony, was a relentless march, driving ahead with tongue-in-cheek humor. The scherzo had chortling winds and a wonderfully sardonic trumpet solo (Philip Collins).

        The orchestra was expressive and alert, and there were superb contributions from soloists.

        The concert repeats at 8 p.m. today in Music Hall. Tickets: 381-3300.

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