The Indianapolis Symphony Orchestra demonstrates a masterful command of a Richard Strauss tone poem in this week's Classical Series program, which also features a quietly virtuosic debut by Augustin Hadelich, a European violinist with local ties.

When ISO Music Director Mario Venzago has discussed the German composers who might be considered specialties of his, Ludwig van Beethoven and Robert Schumann have come up, but maybe Richard Strauss ought to be added. Venzago's interpretation of Strauss' symphonic tone poem "Death and Transfiguration" was extraordinary at Thursday's Coffee Concert.

Strauss is well-known for tone poems that include "Also Sprach Zarathustra," which made its way into the film "2001: A Space Odyssey," and "Till Eulenspiegel's Merry Pranks." The ISO played "Death and Transfiguration," which chronicles an artist's painful, nostalgic and finally resplendent passing, with great depth and compassion.

Venzago coaxed expressiveness and orchestral coloring from every phrase in the Strauss, whether it was the faint rhythmic figure in the violas and timpani representing a fading heartbeat, the agitated low strings and furious brass depicting the anguish of illness, or the final, ethereal calm. The performance was definitely the highlight, even on a program with an agreeable guest soloist.

Technically, the 23-year-old Hadelich has played with the ISO -- at the finals of the 2006 International Violin Competition of Indianapolis, which he won. At that time, he played music of Bela Bartok. This week, he debuted on the ISO's own season with a more traditional choice, the Tchaikovsky Violin Concerto.

The concerto's technically challenging first movement can function mainly as a way to show off technique. I remember an ISO performance from about seven years ago, with a young soloist who emphasized the technical fireworks to excess, which made for a shallow listening experience.

Hadelich's interpretation is far more satisfying. In the quick opening and closing movements, he didn't exactly neglect technique -- chords were balanced, scales and arpeggios even, high-register notes generally in tune. But the showmanship was understated, with the real emphasis on musicality.

Responding to roars from the crowd, Hadelich came back with a sensitive encore, a movement from a Bach sonata.

Call Star reporter Whitney Smith at (317) 444-6226.