Joy radiated from every moment of Gil Shaham’s performance of Tchaikovsky’s Violin Concerto in D Major with the Cincinnati Symphony Orchestra on Oct. 30 in Music Hall. The multi-Grammy Award winning violinist never stopped smiling as he tackled even the most treacherous virtuosities, all while moving animatedly on the stage. He seemed to be enjoying himself immensely and for the audience, the feeling was mutual.

Shaham’s wizardry was a memorable highlight of the Cincinnati Symphony’s concert on Friday morning, led by guest conductor Kwamé Ryan. Ryan opened the morning concert with the orchestra’s first performance of “Fate Now Conquers,” a short work by the rising American composer Carlos Simon. He concluded with Schubert’s Symphony No. 9, nicknamed “The Great.” The Canadian born conductor is currently the music director of the Charlotte Symphony Orchestra.

Shaham has appeared with the CSO many times, and he was given a warm reception from listeners as soon as he stepped on the stage. I’m not sure I’ve ever heard such a thrilling performance of the Tchaikovsky Concerto — not only because his playing was impeccable. In this warhorse that is loved for both its lyrical themes and its fireworks, he found something original to say in every phrase. His interpretation was strikingly fresh. He soared through immense feats while making them look easy. From beginning to end, his joyful spirit was infectious, and that communicated to every seat in the house.

The violinist played with a beautiful singing tone, starting with the opening flourishes of the work. He took his time in the themes of the first movement, playing with lots of romantic rubato (give-and-take) and smiling as he played, as if enjoying each note. His artistry was stunning – seamless technical prowess, mesmerizing sound, mercurial lightness of touch. He moved constantly, turning to communicate with the orchestra and conductor, moving from podium to concertmaster. Sometimes he urged the tempo to pick up noticeably. Even when not playing, Shaham seemed to relish the orchestra’s lush tutti sections. After the cadenza, his coda was exceedingly fast, which, not surprisingly, caused the audience to burst into applause.

Shaham’s view of the second movement “Canzonetta,” which features a distinctly Russian melody, was deeply interior. The tone of his Stradivarius violin was rich and golden and you could feel the emotion of every note. (Shaham played the “Haupt” Stradivarius from 1719, on loan from a New York organization, “In Consortium.”) The speed of his runs in the finale – marked allegro vivacissimo, which translates roughly as “as fast as you can play” — was mindboggling, yet his sound also sparkled. I enjoyed how he exaggerated the Russian dance in one of its themes, before bringing the movement to an exuberant finish.

Ryan kept a good balance and never overpowered the violinist. After multiple curtain calls, Shaham treated with an encore: J.S. Bach’s Partita 1 in B Minor, BWV 1002, VII. Tempo di borea (a bourrée).

The Cincinnati Symphony has been playing wonderfully and with a rich and refined sound in the strings, so it was good to hear Schubert’s Symphony No. 9 in C Major, “The Great,” after intermission. The composer Schumann famously referred to the “heavenly length” of Schubert’s last symphony, written two years before he died at age 31.

Ryan’s conducting style was relaxed, confident and clear. His was an uplifting interpretation, though I wish for more momentum and a more convincing point of view.

The first movement unfolded warmly, enhanced by the elegant introduction by the two horns and the mellow sounds of the trombones. There was a freshness of spirit, with pointed rhythms throughout, and inspired playing of the great first theme. Principal oboist Dwight Parry’s solo to open the second movement, Andante con moto, emphasized that rhythmic crispness, seamlessly matched by principal clarinetist Christopher Pell. Ryan did a fine job gauging the gradual buildup of orchestral sonority to the movement’s searing climax.

The third movement, a scherzo, was bright and had plenty of Schubertian charm. But to me, tempos leaned to the slow side, and with so many steady rhythms, the performance became metronomic at times. Ryan’s view in the finale was vigorous, and I enjoyed the luminous evocation of Beethoven’s “Ode to Joy” theme in the clarinets. Still, more forward momentum and variety of dynamics would have made the “heavenly length”more interesting.

The program opened with Simon’s “Fate Now Conquers,” which was inspired by a journal entry by Beethoven quoting from the Illiad, “But Fate now conquers…” The brief (5 minute) and vibrant soundscape featured bubbly minimalist textures, a prominent role for timpani (Joseph Bricker), and an inventive use of winds and brass. There was even a hint of Beethoven’s Seventh. What a joy to hear this composer’s music with increasing frequency.

The CSO repeats tonight – yes, Halloween – at 7:30 p.m. Tickets and info: cincinnatisymphony.org or 513-381-3300.