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Later, after a short diminuendo featuring Joachim’s gorgeous live singing and those choppy, sampled vocals, the full-band dynamic returns, now with fiery lines from Joachim’s flute.

And that comes down to choices about how to describe things and how much insider language to use, like “diminuendo” or “staccato.”

He plays through the ends of phrases, bringing them to a fine point with exquisitely shaped diminuendos, and maintains a clear yet shimmery tone.

For the “Flower Song” from “Carmen,” Tetelman cushions the contours of his phrases, hooks into high notes without breaking the musical line and nails the diminuendo on the high B flat.

The Philharmonic’s other soloists included the soprano Sherezade Panthaki, who scrupulously shaped her music by approaching top notes with a diminuendo.