After inspiring a universe of emotions, Paavo Jarvi reached the final apotheosis of Mahler's Symphony No. 1, “Titan,” where, in a stunning feat of power, the eight horns stood and Mr. Jarvi swept up his players in a spectacular finish.

        For the final program of his first year as head of the Cincinnati Symphony Orchestra, Mr. Jarvi chose Richard Strauss' last work, the Four Last Songs, in addition to the Mahler work.

        It was a momentous conclusion to a remarkable season, where every concert seemed to be better than the last. In the end, it was hard to tell whether the smallish audience was cheering “Paavo” or “bravo.” Whichever, his leadership bodes well for the future of our orchestra, and our city.

        The distinguished American soprano Barbara Hendricks joined Mr. Jarvi for Strauss' eloquent Four Last Songs, which opened the program. Written in the twilight of the composer's life, they are settings of four poems by Hesse and Eichendorff, in a touchingly beautiful farewell.

        Absent from local stages since 1977, when she last appeared with the CSO, Ms. Hendricks made a welcome return. It was a rare United States appearance, since she has based her career in Europe for the past 25 years.

        She possesses a rich instrument that is agile enough to encompass the songs' wide spans effortlessly.

        Hesse's “Spring” was radiant, Ms. Hendricks' voice floating serenely above the orchestra. She beautifully captured the nostalgic quality of “September,” which was enhanced by a gentle horn solo (Thomas Sherwood).

        Her enunciation of the text made these songs all the more profound, and her phrasing was deeply moving. Concertmaster Timothy Lees matched her warmth, beauty and expression in “Going to Sleep,” in a memorable duo. The soprano was most poignant in Eichendorff's “At Dusk,” where Mr. Jarvi brought out the score's picturesque details to complement the words. It was a seamless collaboration; the orchestra was sonorous yet never covered the soloist.

        After several curtain calls, Ms. Hendricks treated with an encore: Strauss' beautiful lied, “Morgen” (Morning), Op. 27. No. 4, where she phrased with sensitivity and such an exquisite pianissimo, the audience didn't breath.

        Mahler's First was a wonderful companion to the Strauss, with its borrowings of tunes from Mahler's own Songs of a Wayfarer.

        The opening was magical, with distant fanfares, cuckoo calls and finally the cheerful theme in the cellos, as the music unfolded like blossoms opening up. Nothing about Mr. Jarvi was predictable. Accents had bite; accelerations were sudden and forceful.

        The second movement, an Austrian landler, was quite rustic, with the basses setting a deliberate tone. The maestro relaxed noticeably in the trio, but nevertheless, delineated every accent.

        Principal bassist Owen Lee shone in the slow movement, a parody of a funeral march. The Klezmer music that punctuates it danced with spontaneity.

        Mr. Jarvi handled the fourth movement's earth-shattering opening like so many controlled explosions. The brass had thrilling power; the strings had warmth and the winds glowed.

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