Minnesota Orchestra concludes its current season on a profound note, with performances of the Beethoven Piano Concerto No. 5, "Emperor" and Bruckner's Symphony No. 7. Heard on Thursday morning at Orchestra Hall, the Bruckner was a triumph, as was the soloist in the Beethoven.

From the opening cadenzas, Yevgeny Sudbin drew a sweet, seductive tone from the piano. His focus was not on technical virtuosity, which was a given, but on an elegant reading that fully expressed the majesty of the work.

By comparison, the orchestra initially sounded anemic. Music director Osmo Vänskä, well known for his interpretations of Beethoven, had a clear sense of the shape of the work, especially the long, complex first movement (almost half the concerto). But he was unable to deliver a fully engaged, robust performance.

The gentle Adagio was more successful, bringing out the lyricism in both soloist and orchestra. The ensemble delicately supported Sudbin's cantabile performance. This led to a jubilant Allegro finale in which the orchestra, as if it were finally warmed up, emerged in its full glory.

Vänskä and Minnesota Orchestra will be recording the complete Beethoven piano concertos with Sudbin. The experience of these performances will likely benefit the upcoming recording sessions.

The Symphony No. 7 is one of Bruckner's most popular symphonies for good reason. A deeply felt work, full of melodic interest and inherently dramatic, it gives the orchestra every opportunity to shine.

The orchestra was fully on its game at this point. From the first movement's stunning brass fanfares to the full-bodied serenity of the strings, they dazzled. Vänskä led an expansive reading that fulfilled the symphony's frequent subtitle of "Lyric."

There was a sumptuousness to the orchestra's playing of the Adagio, a mournful dirge lamenting the recent death of Wagner. Vänskä captured the monumental grief, especially in the theme in the lower brass, as well as the sense of consolation in the string choir. A fortissimo climax, melting into a melody on the flutes, was handled with the utmost theatricality.

By contrast, there was an exuberance to the Scherzo, despite the heavy orchestration.

From the opening violin tremolo, there was something deeply spiritual in the Finale, balanced with a sense of stateliness. Vänskä's broadly paced reading brought the symphony to transcendent conclusion.

William Randall Beard writes regularly about music.