Music Director Alasdair Neale serves up a French sandwich with a hearty slab of Saint-Saëns nestled between slices of Ravel. First, we hear Neale’s orchestration of Ravel’s lovely and cheerful Minuet from his Sonatine for Piano. Then Capuçon, “the prototype of the romantic musician” (Washington Post), tackles Saint-Saëns’s brilliant Cello Concerto. Finally, we hear Ravel’s choreographic poem La Valse, which starts out cheerful like the Sonatine, but then turns malevolent, corrupting its graceful themes. Take that, lovely little minuet…

Richard Wagner tells you what you need to know about Beethoven’s Symphony No. 7: “All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life, shouting in glad self-consciousness as we sound throughout the universe the daring strains of this human sphere-dance.” The Egmont Overture foreshadows the evening’s theme of triumph over oppression.