By Janelle Gelfand
The Cincinnati Enquirer

Music Hall was made for grandeur. On Thursday night, the magnificent sounds of Music Hall's organ resounded in one of the greatest orchestral showpieces ever written: Saint-Saens' Symphony No. 3, Organ.

It was no coincidence that Marin Alsop, one of the bright lights on the American conducting scene, was on the Cincinnati Symphony Orchestra podium for this thrilling performance. Known for her charisma and musicality, she expertly harnessed all the power of the orchestra and organ into a gripping reading that inspired the musicians, and had the large audience on its feet, cheering, at its conclusion.

The orchestra welcomed back the guest maestra, who recently became principal conductor of Britain's Bournemouth Symphony Orchestra, for a program that included concertmaster Timothy Lees and principal second violinist Gabriel Pegis as soloists in an early piece by Mozart. Alsop also led Rapture by Baltimore native Christopher Rouse. Both were Cincinnati premieres.

The large forces assembled on Music Hall's stage included Christ Church Cathedral music director Ernest Hoffman at the organ and pianist Michael Chertock.

Alsop inspired an atmospheric spirit in the work's opening, with lithe, scurrying strings that had a Mendelssohnian lightness. Conducting without a score, she was an expressive leader, attentive to detail and balance, who urged her players forward with wonderful momentum.

One of the highlights was the Poco adagio, where the organ was a soothing bed under the string sonority. Alsop captured its lyrical sweep with intensity, never losing sight of the overall architecture.

The second movement scherzo, enhanced by brilliant piano flourishes, had a restless quality that was only relieved by the great C Major chord in the organ, announcing the finale. The finale's hymnlike theme, alternating with brass fanfares, was noble and majestic, and Alsop drove to the finish with exciting, Beethoven-like momentum.

Rouse's Rapture, which opened the concert, was an orchestral showpiece of a different kind. Evoking, the composer wrote, "spiritual bliss," it opened with gradually shifting colors like a slow sunrise, tinged with Asian-sounding bells and birdcalls, and grew increasingly edgy, with drumming by two sets of timpani and bass drum. It was an arresting piece, and the musicians responded with vivid, precise playing.

Lees and Pegis were soloists in the Concertone in C Major, K. 190, composed by an 18-year-old Mozart. The two players complemented each other well; Lees projected a pure, beautiful tone; Pegis had richness in the lower register and a more romantic style.

A more interesting piece might have shown off these two excellent players, but it was a congenial performance, and they earned a standing ovation.

The concert repeats at 8 p.m. Saturday in Music Hall. Tickets: 381-3300. E-mail jgelfand@enquirer.com