Lorin Maazel has a long history with Wagner. He was the first American to conduct at the Bayreuth Festival (the Wagner shrine). And he was the first foreigner to conduct the “Ring” cycle there. In January, he returned to the Metropolitan Opera for the first time in 45 years. He conducted a slice of “The Ring” — “Die Walküre.”

He conducted all of “The Ring” on Wednesday night, in a way. He conducted a “symphonic synthesis” of “The Ring,” which boils down the cycle (15 hours) to 70 minutes. Mr. Maazel himself fashioned this synthesis — this “‘Ring’ Without Words” — 20 years ago. He did so at the request of a record label, Telarc.

Of course, many conductors and others have played with “The Ring” — including Leopold Stokowski. (He played with everything, often brilliantly.) Mr. Maazel has had an admirably varied career: as conductor, composer, arranger — violinist. There should be no doubt that he is a musician to reckon with.

To make a synthesis is to edit — and to edit is to choose. Editing involves including some things and excluding other things. You could quarrel with some of Mr. Maazel’s choices. For example, I would have liked more of the storm that begins “Die Walküre” (if not the whole thing). But Mr. Maazel can say, “If you don’t like my synthesis, make your own.” And he did a clearly skillful job.

On Wednesday, he presented his synthesis with his orchestra, the New York Philharmonic. Their venue was an unusual one — not the Philharmonic’s home, Avery Fisher Hall, but Carnegie Hall. Did the orchestra sound markedly different in this hall (whose acoustics are vastly superior to Avery Fisher’s)? To my ears, no.

Mr. Maazel led a mixed performance of his synthesis. There were characteristically marvelous moments — insightful, surprising, and dazzling ones. But there were many odd moments, too — where Mr. Maazel did his pushing and pulling, to deadening effect.

The synthesis begins with the beginning of “The Ring” — the opening pages of “Das Rheingold.” Mr. Maazel was very slow here, which is fine. But he was also awkward, which is not. The music could have been far more free-flowing.

And, by the way, it was strange not to hear the Rhine Maidens come in after this watery orchestral introduction. In fact, one heard voices in one’s head all through the performance. Near the end of “Die Walküre,” it was all I could do to keep from shouting out, “Loge, hör!”

Mr. Maazel’s synthesis goes in chronological order, “Rheingold” to “Götterdämmerung.” In the “Walküre” portion, the end of Act 1 did not quite have its ecstasy (which is ecstatic indeed). And the opening of Act 2 can be more exciting, with those pounding horse hooves. (This is a foretaste of the ride of the you-know-whats.) The whole auditorium should shake. Mr. Maazel was rather contained.

And, in my view, “Wotan’s Farewell” was most unfortunate. Mr. Maazel managed it so tightly, he almost choked it to death.

The exultant, celebratory music of “Siegfried” was a little cold. But the dragon made you sit straighter in your chair. And I’m afraid that the “Götterdämmerung” portion suffered from longueurs. Of course, some people — are they to be shunned? — think that “Götterdämmerung” itself suffers from longueurs …

The orchestra had a somewhat sloppy night, certainly as contrasted with its performance of Mahler’s Ninth exactly a week before. Wagner calls on horns, in a big way — and the horns were fairly capable (though not as sure-footed as in the Mahler). Overall, the Philharmonic brass lacked warmth, and this quality is needed in “The Ring.” The woodwinds had a good night, however, especially in the “Siegfried” music — all those murmurs and chirps.

Making an outstanding contribution was the principal cellist, Carter Brey. He displayed beauty of tone, a refined sense of phrasing. And he was singerly, as it helps to be in a “‘Ring’ Without Words.”

Impressively, Mr. Maazel conducted without a score. Sure, he put together the synthesis. But it must be hard to remember what you extracted and how you stitched — especially when you know the full “Ring” well, as Mr. Maazel does.

And I will say again what I’ve said often before: You may not like what Mr. Maazel is doing on a given night (and Wednesday night was not mine, for sure). But he is a big musical brain who always has something to teach.