One of the highlights was the evening’s guest artist, pianist Andrew von Oeyen, whose rendition of Beethoven’s Piano Concerto No. 3 in C Minor, Op. 57, was remarkable for its air of quiet authority. Von Oeyen’s playing combined a light, fluid touch with an almost dry tone that gave the music a conversational tone, so that the interplay with the now-subdued orchestra became a true conversation. His work in the slow second movement — a series of prayer-like melodies that slowly grew into a final orchestral chord that sounded like a sigh of relief — was elegiac without being maudlin, much as his first movement cadenza managed to dazzle without being ostentatious. And his playing in the vigorous third movement was buoyant and joyful, almost jaunty.