so familiar and comforting, a routine account, where all the notes are in place and nicely paced, can seem satisfying enough. The real test is to see if those much-played notes can sound new and surprising, perhaps with refined clarity of articulation or a minute shift in dynamics, a subtle pullback or bracing surge in the tempo.

Meister drew all of those telling ingredients from the BSO in a richly satisfying interpretation of the "Haffner" Symphony. The most lyrical passages were infused with unusually graceful nuances. In the finale, the conductor revved up the action to generate a bracing speed that never obscured details.

The conductor's preference for dividing the violins on each side of the stage allowed the interplay of melodic lines to come through with added color. And those violins, not to mention the rest of the ensemble, demonstrated considerable fluency and tonal warmth.

Concertmaster Jonathan Carney and principal cellist Dariusz Skoraczewski stepped out front at the start of the program to tackle the solo roles in Brahms' passionate Double Concerto, enjoying smooth support from their colleagues throughout.

Carney spun a consistently sweet sound and many an exquisite phrase. Skoraczewski occasionally forced his tone, but his musicality always shone through. He and Carney blended to particularly beautiful effect in the flowing Andante.

To wrap things up, Meister turned to "Till Eulenspiegel's Merry Pranks," the brilliant tone poem by Strauss. In masterful fashion, the conductor ensured that each episode of this wild and crazy musical tale communicated vividly, while maintaining the firmness of the score's structure.

The orchestra sounded terrific, whether adding fire to a crescendo or laying on subtle atmospheric coloring; brass and woodwind soloists made sizzling contributions.

The concert repeats Saturday night at Strathmore, Sunday afternoon at Meyerhoff.