So, Wednesday night at the New York Philharmonic, local critics got what they’ve long wanted and cried for: David Robertson replaced Lorin Maazel on the podium. But it’s not permanent, only temporary. Mr. Maazel was indisposed, and Mr. Robertson stepped in to conduct a concert that was broadcast on PBS, no less. This was an excellent opportunity for Mr. Robertson. Music director of the St. Louis Symphony, he is a pinup boy of the critical establishment. A few of us find this puzzling. True, he was once music director of the Ensemble Intercontemporain, and advocacy of contemporary music will win you no end of points. But many conductors advocate contemporary music. Lorin Maazel does his share, in my opinion.

Hell, Mr. Maazel writes it!

At any rate, Wednesday night’s program was altered at the last minute, and we lost Dvoryak’s “Carnival Overture” and Roussel’s “Bacchus et Ariane” Suite No. 2, gaining instead Dukas’s “Sorcerer’s Apprentice” and Stravinsky’s “Firebird” Suite. These changes were a little surprising. The Philharmonic had played both “The Sorcerer’s Apprentice” and “The Firebird” (the whole ballet, actually) in February. So, were these substitutions quite fair to regular concertgoers? And why did the “Carnival Overture,” in particular, have to be dropped? Surely Mr. Robertson knows it. Anyone even scantly acquainted with music does.

Mr. Robertson opened the program with the Dukas, which started out slow and careful, without much mystery or anticipation. And when the hijinks got going, they didn’t have much dash or color. We were shortchanged on atmospherics. Mr. Robertson is extremely animated – even theatrical – on the podium, but what does that generate? I imagine it looks good, or at least interesting, on television. The ending of this wonderful little poem – Dukas calls it a scherzo – did not have much drama or thrill.

This was not exactly a poor performance, but neither was it a special one. The conductor did some things commendably: He teased out a bass figure pleasingly. But “The Sorcerer’s Apprentice” ought not to be so bland.

We then heard from Gil Shaham, who played Sibelius’s Violin Concerto. There was a “human interest” element here, in that the violinist and conductor are brothers-in-law (Mr. Robertson being married to Mr. Shaham’s sister). Mr. Shaham began this difficult and masterly concerto with his usual assurance. His sound was silky – even a little liquid – and he imparted just the right gypsy inflection. (Some gypsy in Sibelius? Yes.) His intonation was good, and his phrasing was wise.

Often, Mr. Shaham is too relaxed, which is an extremely unusual criticism to make of a musician – usually they can use more relaxedness. But in the Sibelius, Mr. Shaham was focused, engaged; he was not merely striking musical or violinistic poses.

The first movement was not note perfect, but it was compelling, and Mr. Robertson contributed his part, too: His conducting was hearty and intelligent. Violinist and orchestra were not together at the end, but this was not serious. The audience applauded once the first movement was over, as it usually does. Mr. Shaham actually bowed a bit, which was ad mirable – a nod to a past tradition.

The slow movement has an odd, slightly off-kilter beginning, and Mr. Robertson and the orchestra handled it superbly. When Mr. Shaham came in, he was nicely forward-moving. This may be a slow movement – Adagio di molto – but it requires momentum, which Mr. Shaham did not withhold. He overindulges in portamento, but I’m afraid this is a signature. Especially effective from the orchestra was its measured pizzicato playing under the violin’s melody.

Our forces paused quite a bit between the second and third movements, which was a little unfortunate. Some of us prefer more of an “attacca.” In that third movement, Mr. Shaham had some intonation problems, and he was somewhat loose with rhythm. Very little about this performance, overall, was polished or inarguable. But Mr. Shaham provided some marvelous emphases, and Mr. Robertson applied strength. The closing pages ought to include a spilling out of tension, a fantastic release – they did not have those. But this had been a satisfying performance.

It was nearly spoiled, however, when Mr. Shaham played an encore, Bach’s beloved E-major Gavotte – and played it poorly. This was rushed, Romantic, misshapen. It was not so much Bach as Bach-Shaham. Just as bad, it was superfluous. There was absolutely no need for that encore; and it took the taste of the Sibelius Concerto out of one’s mouth. This wonderfully personable violinist might have left well enough alone.

To begin the second half of the concert was more Sibelius – “The Swan of Tuonela” – and here Mr. Robertson, or some other decision-maker, did something unaccustomed: The English-horn player came to the front of the orchestra, as if playing a concerto. I’d seen nothing like it since Maestro Bernard Haitink had his French-horn player come to the front of the orchestra for a movement of Bruckner’s Eighth Symphony. Sure, the English horn is a soloistic instrument in “The Swan of Tuonela” – but we hear quite a bit from the cello, too. In any event, it was an innovation.

The Philharmonic’s English-horn player is Thomas Stacy, and he did not have his ideal night: He was sharp (in pitch), and not entirely smooth – that swan did not glide ethereally along the water. No doubt, you’ve heard more enchanting and more transporting accounts of this piece. But this one was good enough. The concertmaster, Glenn Dicterow, played sweetly, and the cellist, Carter Brey, ended the piece beautifully.

Mr. Robertson’s reading of “The Firebird” Suite, which closed the evening, was perfectly creditable. He was sensitive and alert. One flaw, however, was that this performance lacked danger. It did not give you that rollercoaster ride that “The Firebird” can. It was all a little innocuous, a little … nice. But the orchestra played skillfully, especially the woodwinds: Judith LeClair on her bassoon, Joseph Robinson on his oboe (a pity he feels the need to retire). And how about the French hornist? I believe that Philip Myers did his best playing of the entire season. It was musical and accurate.

As for the Philharmonic future … we will leave that to the future. The theme song of many critics is, “Oh, Won’t You Please, Mr. Robertson?” There is only one more subscription concert to go in the current season. Lorin Maazel is scheduled to conduct the Mahler Sixth. May he be back on his feet, dancing as usual.