The New Bedford Symphony Orchestra began its 93rd season Saturday evening with a memorable all-Brahms program.

The symphony's music director, Dr. David MacKenzie, welcomed the audience that filled about three-quarters of the seats at the Zeiterion Performing Arts Center, promising "a wonderful, exciting beginning to a new season." It would have been difficult to find an audience member exiting the theater after extended ovations for the NBSO and its guest artist, pianist Norman Krieger, who felt that promise had been unfulfilled.
Symphony No. 2 in D Major, Opus 73, completed in 1877, comprised the first half of the evening's program.

From the gentle opening with its Alpine horn melody to the triumphant ending of the almost 50-minute composition, Dr. MacKenzie deftly led his forces through the symphony's shifts in emotional pitch, at times tender, at others ebullient or muscular. It's a pleasure to watch his graceful, fluid conducting. Anyone who thinks these concerts are just "another day at the office" for these professional musicians need only observe the passion that concertmaster Jesse Holstein brings to the performance to debunk that notion. Dr. MacKenzie said at the concert's outset that Brahms' Symphony No. 2 is "as close to perfect as a symphony can be," and the NBSO's performance did it justice.

For the program's second half, acclaimed pianist Norman Krieger joined the orchestra to perform Brahms' Piano Concerto No. 1 in D minor, Opus 15. Portentous strings and a timpani roll begin this composition from 1859 in a movement marked Maestoso.

Mr. Krieger, artist in residence in piano at the University of Southern California and a world-traveling concert artist, seems a very contained performer, funneling his energies into the keyboard, with few grand flourishes. His flashing hands speak for him, as he renders forceful attacks that modulate to tender phrases.

In the melancholy Adagio, Mr. Krieger played with great delicacy. He allowed barely a breath before launching into the third movement, Rondo: Allegro non troppo. As the audience exploded in applause at the concerto's conclusion, Dr. MacKenzie embraced Mr. Krieger and acknowledged orchestra members. Mr. Krieger rewarded the enthusiastic ovation by returning to deliver a tender Chopin nocturne, casting a hold-your-breath hush over the assembly.

All audience members who take the time to read the lucid and illuminating program notes owe a debt of gratitude to Audrey Quail, who has been carrying out that task for many years. In a new collaboration with SouthCoast artists, the program cover was graced by a lovely watercolor, "Water Lilies," by Dr. Charles Parsons. The original work was on view in the theater lobby, and was the subject of a silent auction.