A sterling Shostakovich Tenth

When guest conductors make an excellent impression, they are likely to be invited back — and that's what happened following Vassily Sinaisky's 2005 debut on the Seattle Symphony Orchestra podium. Sinaisky, who returned to Seattle this week, presided over another imposing program whose centerpiece was one of the greatest Shostakovich symphonies: the Tenth.

Of course, the rest of the evening was hardly inconsequential. The snappy opener, Carl Maria von Weber's "Ruler of the Spirits" Overture, emerged with lots of zip and energy, and some fine playing by the brass section.

And the concerto, with soloist Vadim Gluzman undertaking the Mozart Violin Concerto No. 4, was also remarkably good. Sinaisky kept the orchestra small and responsive, letting Gluzman shine — all patrician elegance, well-rounded tone and beautiful legato lines. Fervent applause brought Gluzman back for a solo encore, an incisive account of the first movement of Ysaÿe's "Obsession" Sonata (No. 2).

The Shostakovich Tenth showed Sinaisky at his best. He is an expressive conductor, leaning far into the orchestra to urge the players on and backing off in quiet sections so that the tip of his baton is barely moving. The players gave him their rapt attention throughout this complicated work, which dwindles to a tiny thread of exposed solo work and builds back up to eardrum-threatening climaxes. Underlying much of the second half of the Tenth is a four-note theme Shostakovich frequently used as a representation of his own name — a musical signature reiterated to tremendous effect. Sinaisky's understanding of the score was clear in his every gesture.

There were so many outstanding solos that nearly every principal player deserves kudos, but in particularly fine form Thursday were Christopher Sereque (clarinet), Ben Hausmann (oboe), Zartouhi Dombourian-Eby (piccolo), John Cerminaro (horn) and Seth Krimsky (bassoon).

Melinda Bargreen: mbargreen@seattletimes.com