Every seat in the Krannert Center for the Performing Arts in Foellinger Great Hall was filled Saturday as listeners sat entranced by Vivaldi’s “Concerto in A Minor.” Not one cell phone went off, not even a cough was heard. The infectious ritornelli passages floated seamlessly from the outer to the inner movements, transporting listeners back to the 18th century. Though these were professional musicians, their rendition of this classic piece proved that they were much more. The music went beyond technique, something that comes much more easily to professionals, and focused more on creating a story through artistry.

The Chicago Symphony Orchestra is hailed by most reviewers as one of the greatest orchestras in the world. It is also known for employing some of the highest paid musicians and performing in some of the most celebrated venues, including Carnegie Hall in New York City and its own theater, the Symphony Center in the heart of Chicago’s Loop. Recently, it has even graced the Champaign-Urbana area with its presence, performing at the Krannert Center for the Performing Arts Saturday.

The CSO comes to Krannert at least every other year, said Bridget Lee-Calfas, advertising and publicity director at Krannert. And, for any listeners who want to hear them over the summer, the orchestra plays frequently at Ravinia Festival, an outdoor music venue on Chicago’s North Shore.

“We hope that every performance we offer reminds our patrons and the community of the importance of live performing arts experiences,” Lee-Calfas said. “It is certainly crucial to the lifeblood of the arts that we continue to reach out to current and new audiences to share the life-affirming work of artists.”

Though the orchestra has performed many times in Foellinger Great Hall, it debuted a new conductor Saturday. Riccardo Muti, who attained this maestro position in 2010, is an Italian conductor who has worked with both operas and symphonies, but is especially known for his work at the Salzburg Festival in Salzburg, Austria. 

He has also worked for the London Philharmonic Orchestra as well as the Berlin and Vienna Philharmonics. With more than 50 years of experience under his belt, the conductor has been known to lead passionate performances, according to Saturday’s program.

In the past month, Muti has suffered some minor health issues, but was nonetheless active during the performance. According to The Associated Press, his main goal is to bring a sense of goodwill to the world with his orchestra. Only last week, he dedicated a performance of J.S. Bach’s “Mass in B minor” to the Boston bombing victims, adding that “Bach didn’t have in mind just eternal peace — but also peace on earth.”

This Orchestra’s renowned reputation is evident in Champaign, as tickets for Saturday’s performance sold out months before the performance. Krannert even hosted a CSO pre-engagement night April 1 in order for attendees and students to learn more about the music and prestige of the Orchestra prior to Saturday’s performance.

“The event was a dialogue,” said Katherine Syer, speaker at the pre-engagement event and assistant professor of musicology. “I was keen to find out what the main draw was for the folks who joined us. It was certainly the CSO and, above all, Muti. However, some really interesting questions about orchestra organization emerged …‘Could they play as well without a conductor?’ as well.”

This type of pre-engagement event and even the performance itself can truly assist the public, especially those who know little about music, to develop appreciation for the performing arts, she said.

“Experiencing great music played well and live can leave one speechless and utterly enriched,” Syer said. “Feeling transformed is one of the most important ways that we instantaneously recognize the value of the arts.”

Saturday’s program consisted of a selection of symphonies and concertos by 18th century composers, all pieces that require both overwhelming technique and artistry from each performer.

Janak Mehta, junior in LAS and music minor, described the performance as “breathtaking.”

“I’ve heard them perform before and they are always phenomenal,” she said. “But hearing them play in these great acoustics makes me just truly appreciate music and what these performers are doing. This is why music is important to me — because of moments like this.”

The tangible beauty of this music was evident to other audience members as well. Many listeners sat on the edge of their seats, letting the world-class acoustics of Foellinger Great Hall fill the space around them.

The second piece of the night was Mozart’s “Symphony No. 38,” or “Prague Symphony.” According to the program, Mozart originally wrote the work as a gratuitous piece for the people of Prague, the capital of Czech Republic, his strongest “fanbase” at the time. Because of the celebratory nature of the piece, the balance of the group was greatly tested. Led by principal flutist, Mathieu Dufour, the woodwind section blended wholly with the lower brass and strings, allowing each phrase to float on top of the violins so that the melody could be heard. 

Unpredictably, the last piece of the night, Beethoven’s “Symphony No. 4,” was peaceful, ornate and more melodic than a typical orchestral piece. The symphony is one of Beethoven’s lesser-known works, often overshadowed by its following symphony, “Symphony No. 5.” According to program notes, the work was written at a calmer point in Beethoven’s life, during a summer stay in his friend’s home in Vienna, Austria. He later dedicated the work to this friend, Count Franz von Oppersdorff. 

The symphony was a refreshing and much-needed contrast to the recent tragedies in Boston and Texas, Syer said. 

As the last note of the piece was released into the Great Hall, the audience was silent. The note sailed into the balcony and hung in the air until it gradually evaporated. The audience then stood up for a nearly five-minute standing ovation. 

“I don’t listen to classical music at all,” said Anna O’Neill, freshman in LAS. “I never understood why anyone would listen to it. But honestly, this performance was really inspirational. I wasn’t in the best mood before this show, but this music really surprisingly had the power to change my attitude.” 

Jolie can be reached at [email protected].