For 11 years, Kurt Masur stood before an orchestra in Avery Fisher Hall. He was music director of the New York Philharmonic from 1991 to 2002. On Wednesday night, he again stood before an orchestra in Avery Fisher Hall. This was the Orchestre National de France, which Mr. Masur has led since leaving New York.

The program was Beethoven and Dvorak — beginning with Beethoven’s Piano Concerto No. 2 in B flat. This was actually Beethoven’s first piano concerto, reflecting a strong Mozartean style. But it was published second, which is why we know it as No. 2.

Mr. Masur’s piano soloist was David Fray, who was making his New York debut. He is a young Frenchman — 26 years old — and the bearer of considerable talent. He did some beautiful playing in the Beethoven. Even his turns — his little ornaments — were beautiful.

Mr. Masur cooperated with him, happily. (Or was it Mr. Fray cooperating with Mr. Masur?) This was about the most beautiful account of Beethoven’s B-flat concerto you will ever hear. It took its time; it was unhurried; it was appreciative.

Throughout the concerto, Mr. Fray was graceful, stylish, and refined. His playing was notably French, if you will permit the stereotype (a positive one). In an interview, he has said that he doesn’t consider himself a “French pianist,” really — tough. But, refined and nuanced as he was, there was some cloddishness in Beethoven’s Rondo.

In all three movements, Mr. Fray was intelligent in his pedaling, and intelligent in his dynamics. His runs were nimble and clear. And he was playful where necessary.

But mainly this account, to say once more, emphasized the beautiful. It was nearly the opposite of a “period” performance: a performance that is fast, super-crisp, and bouncy. To be sure, there is much to be said for both approaches.

Mr. Fray did some questionable things. During the first movement’s cadenza, he stomped his left foot on the floor — only the most vulgar pianists do that. Mr. Fray is not that kind of pianist.

And he played the orchestra’s final chords in the first movement, which was questionable enough — but then he had to hold his own final chord after the orchestra had released. He did exactly the same in the last movement. He was at least consistent, if annoying.

Furthermore, there was a lot of singing taking place up on that stage. Was it Mr. Fray? I doubt it was Mr. Masur.

Mr. Fray cuts a dashing figure, with long pianist’s hair. Do you remember that Irving Berlin lyric about Paderewski? “I’m so excited when I’m invited / To hear that long-haired genius play.” Also, Mr. Fray uses a chair with a back, as the veteran pianist Radu Lupu does. They lean back from time to time.

In any case, young Mr. Fray is a pianist to follow, as his career unfolds.

Mr. Masur conducted Beethoven’s concerto with maturity and sobriety — but not dully. He was unfailingly musical and alert. After intermission, he conducted a Dvorak symphony: No. 9, “From the New World.”

And, by the way, if you haven’t heard this symphony in a while: It is still a masterpiece, practically unhackneyable.

But Mr. Masur was not at his best in this symphony — far from it. The orchestra was not at its best, either. It was often sloppy, and it made some most unfortunate sounds. A gratifying exception was the flute: upholding the long, honorable French tradition of flute playing.

It must be said that Mr. Masur did some wise, measured conducting. He will never lay a total egg on you. But what the “New World” Symphony was missing was visceral excitement. It was, in fact, dull. The Scherzo, in particular, was possibly the slowest and dullest on record. The symphony as a whole was simply sluggish and limp.

Is Mr. Masur capable of exciting performances? Oh my goodness, yes — he has given some of the most exciting I have ever heard. And, now an octogenarian, he is still in fine conducting shape — as he proved with the New York Philharmonic earlier this season when he led Bach’s “St. Matthew Passion.” And as he proved in the Beethoven concerto.

The second half of Wednesday night’s concert was simply flat.

But the audience applauded and applauded, perhaps in gratitude for the maestro’s 11 seasons in New York — or maybe simply because they loved the Dvorak. Mr. Masur gave them an encore: more Dvorak, his “Slavonic Dance” in E minor, No. 72, No. 2. It was slow, wise, and lovely.

The following night, the orchestra was scheduled to play Beethoven, Dutilleux, and Tchaikovsky. So there was just a dollop of French music on these programs, from the Orchestre National de France. I applaud that: Orchestras, even when they travel, need not be wedded to nationality — for their art, music, is multinational and universal.