BUTLER TWP — Joyful. That’s the only word to describe the final concert of the Butler County Symphony Orchestra’s 2015-16 season Saturday Night at the Butler Intermediate High School auditorium.

From the intriguing opening work through the spectacular performance by the Concerto Competition winner to the forceful finale, there was a sense of joyful accomplishment in the hall.

Inspiring Ludwig van Beethoven was composer Kevin Puts’ musical speculation on what was going through Beethoven’s mind when he was composing. With bits of melody, scraps of rhythms and random tonalities floating then colliding the work is at times bewildering. It briefly coalesced into a familiar theme that almost immediately evaporated in abstraction.

Puts’ creation seemed to inspire maestro Matthew Kraemer and the orchestra as they deftly navigated the complex work. His conducting exquisitely expressed every nuance to the orchestra.

Concerto Competition winner Nathaniel Chen took the stage to amaze listeners with his presentation of Maurice Ravel’s “Piano Concerto in G Major.” Chen’s total mastery of his instrument was apparent with every note. Ravel simultaneously juxtaposed lyrical lines in one orchestral section against jazz abstraction from another. Chen and the orchestra presented a superbly perceptive performance.

The second half of the concert was devoted to a single work: Beethoven’s “Symphony No. 9,” best known as the Choral Symphony. It is one of the most familiar compositions in the world and yet this was the first time the Butler symphony played the work.

It was undoubtedly as grueling as it was exciting for the performers. Not only did the orchestra need to be up to the task of a work out worthy of a professional sports team, but the final movement is scored for orchestra, classically-trained vocal soloists and a robust choir.

The first movement, Allegro ma non troppo, began with musical cascades that repeated and overlapped in quick succession. Beethoven’s signature wild contrasts of sound and tempo were immediately evident as the movement progressed.

The Scherzo movement is possibly the second most well-known. Its strong pulse opened the movement at a brisk canter.

Scherzo means “joke” so just when everyone expected the pattern, Beethoven inserted sudden moments of silence. With Maestro Kraemer’s precise direction, the orchestra handled the timing perfectly and the result was great fun.

The Adagio was a contrast to the first two movements. It was subtle with quiet melody lines swirling through the orchestra. The duet in the woodwinds floated sweetly above the rest of the orchestra.

The movement concluded with power, a hint of things to come.

Exultation was evident in every note of the Presto movement, commonly known as the Ode to Joy. The instrumental introduction harked back to themes from the first three movements but the fireworks started with the first notes sung by baritone Timothy LeFebvre. He was soon joined by tenor Robert Frankenberry, Mezzo-soprano Katherine Drago and Soprano Shannon Kessler Dooley who dazzled in the intricate quartet.

The Slippery Rock University Choir, excellently prepared by director Stephen Barr, came in like gangbusters and helped surge to the massive conclusion of Beethoven’s exultant last symphony.

A joyful ending to a joyful season.