Last Friday night, conductor James Gaffigan led the Oberlin Orchestra through a whirlwind concert featuring Conservatory pianist Yury Shadrin. While the orchestra performed with excitement and vitality, the program opened with the sometimes ridiculously over-the-top overture to The School for Scandal, Op. 5 by Samuel Barber.

The overture is based on a comedy written in 1777 by English playwright Richard Sheridan concerning the backbiting, gossiping intrigues of the leisure class. Barber’s insistent use of unison within each instrumental section quickly becomes a trite quirk of the work. Despite this unexceptional quality in the composition, the orchestra captured the wit, humor, and humanity of the work with vigor.

Following Barber was Beethoven’s famed “Emperor” Piano Concerto No. 5 in E-flat Major, Op. 73, performed by Russian-born pianist Yury Shadrin. Shadrin, with his shock of white-blonde hair and squat shape, commits a youthful look to memory. This is a sharp contrast from the poised maturity he displayed in his beautiful rendition of this uniquely lyrical concerto. Flashes of tremendous depth and profundity present in Shadrin’s playing indicate his unrivaled talent.

Although Shadrin artfully highlighted all the subtle yet exquisite glories of this celebrated masterpiece, near the end of the work, it became clear that it took all ten fingers and more for him to accomplish what he wanted.

Moving alphabetically through the composers, the second half of the program consisted of Brahms’ Symphony No. 2 in D Major, Op. 73. Already a bright and buoyant piece, the violins contributed even more sunshine and good cheer with their light and lyrical nuances. Rhythmically, the second and third movements are written in waltz-time, allowing the program to end on a weightless, merry note.

Gaffigan and the Oberlin Orchestra were able to do Brahms justice with a lean, brisk, and affectionate performance. The quick tempi employed in the first two movements proved to be particularly effective. In the first, the signature melodies, specifically the lullaby theme, lacked some of the sentimental baggage that could weigh them down in over-exaggerated performances.

The dance-like second movement imparted an attractive sweeping motion. Some of the light grace notes embellishing the main melody were sacrificed due to the quickness of gait in the third movement. Similarly, the finale raced with abandon. While the last movement occasionally skirted the danger zone, it never fell out of control. The consequent ebullience capped an inspiring evening of music in Finney.