Most members of a stripped-down complement from the orchestra stood for the first work on the program, Bach’s Orchestral Suite No. 4. Working without a score or a baton, Mr. Heras-Casado elicited regal grandeur in the Ouverture, genial sparkle in the inner dance movements and buoyant dash in the final Réjouissance.

Mr. Bell, at 43 a seasoned veteran, was entirely in his element with Bruch’s Violin Concerto No. 1 in G minor, a Romantic war horse refreshed and enlivened by Mr. Bell’s panache and commitment, and by Mr. Heras-Casado’s sympathetic accompaniment with the full orchestra.

Endowed with sweetly spun melodies and a bravura finale, the concerto is an unapologetic showpiece for a virtuoso performer. Hearing Mr. Bell play it, you were convinced that there was no finer, more persuasive advocate for this kind of repertory. Lawrence DiBello, the principal horn player, brought precision and gorgeous tone to luminous passages in which his lines caressed Mr. Bell’s. The audience responded tumultuously.

Concluding the concert was an account of Mozart’s Symphony No. 40 in G minor, stirring for its brisk tempos, taut rhythms, transparent textures and refined solo work by the principal winds. The finale came with an almost breathless whoosh; at one point you saw double-bass players sharing smiles after a particularly arduous passage. Still, speed and clarity never shortchanged drama.

Conducting purists enamored of the old-school motionless maestro who worked wonders with a cocked eyebrow or raised pinky might have pooh-poohed disapprovingly at the expressive, exuberant gestures and dance steps involved in Mr. Heras-Casado’s podium choreography. For everyone else the results he achieved were something to savor; you left wanting to hear him conduct more, and soon. Happily, his next appearances are scheduled for Monday night.