The appointment in 1989 of Claudio Abbado as music director of the Berliner Philharmoniker, though not quite as controversial as the cardinals in Rome electing Karol Wojtyla pope, sent shockwaves throughout the European classical community. The occupation of that most Teutonic of chairs by an Italian signified the end of an era.

After a distinguished 10-year run, and in the midst of a courageous battle with ill health, Mr. Abbado announced his plans to retire in 1999, forcing the city fathers to seek a successor. The maestro’s legacy was a refinement of the silken sound of the Berlin strings and a healthy moving away from the uncompromising beat of von Karajan toward a more expressive orchestral rubato.

The choice of an heir apparent was a bit controversial itself: Simon Rattle prefers a grittier, harder-edged sound and an aesthetic heart much closer to the sleeve than the Berliners possessed at the time. In terms of both compatibility of sound and temperament, James Levine would have been a better choice. Mr. Rattle’s ideal tone is more of a Caruso sob while the orchestra’s was an elongated, aristocratic voce di testa.

The once rich and proud Berliner Philharmoniker now appears before us in danger of becoming a tatterdemalion. Mr. Rattle turned down the job in Philadelphia partly because the board wished him to participate in its fund-raising campaigns; ironically, in Berlin, where the management wouldn’t dream of insulting the leader with such hints of extra-musical activity, it may not have the ability to raise enough funds to pay his princely salary in the future. Nonetheless, the orchestra is touring again and Wednesday evening began a four-night stay at Carnegie Hall.

The most interesting work on the first program was Arnold Schonberg’s “Variations for Orchestra.” This extremely important piece – it was the first orchestral composition ever written in the dodecaphonic style – is being presented three times this season in New York. But this Berlin performance deserves pride of place, as the music was premiered by this ensemble under Wilhelm Furtwangler in 1928.

At the time, Schonberg seemed to be on his way to worldwide fame and fortune, but soon thereafter, both “Variations” and composer were aboard a ship headed for America as refugees from the Nazis. Schonberg adopted the laid-back Southern California lifestyle – his family still lives in his house on Rockingham in Brentwood just a few doors down from the former home of O.J. Simpson – but certainly was never properly recognized in his lifetime.

Erich Leinsdorf used to say this work was the most difficult in the entire repertoire to prepare for concert presentation. Like Gyorgy Ligeti’s “Lontano,” part of the problem is that many of the sonorous effects depend on instruments of contrasting timbres playing in unison. Mr. Rattle certainly conquered all of these technical hurdles, offering a superbly blended orchestral sound from his nearly 100-piece ensemble. He made this early serialism sound tremendously dramatic and exciting, and played through this subtly colored essay without pause (many conductors choose to stop after each variation). This was music-making of the highest order.

Also on the program were “Ein Heldenleben” of Richard Strauss and the Symphony No. 86 in D of Haydn. The latter was exceptionally well played.

Mr. Rattle is a different conductor sans podium, and he gathered a select group of musicians around him for an effervescent reading of Haydn’s piece. In this intimate setting, with modern horns but period trumpets, the Berliners sounded ebullient. They responded to Mr. Rattle, who walked toward them to deliver slight cues from his shoulders, as if they were the best of friends.

There was indeed the requisite Sturm und Drang in the Largo, but the other movements were as intoxicating as champagne. The trio of the minuet was as smooth as a skater’s waltz – think of Schubert’s Symphony No. 3 – and the finale expressed the unbearable lightness of absolute certainty in the master plan of the creator. This was Haydn playing worthy of a great master, reminding me of the glorious days when Antal Dorati recorded all 104 symphonies as the sparkling jewels they really are, not just the Classical filler they can sometimes be regarded as by lesser leaders.

One more thing about Sir Simon. He walks over to each of his section leaders when they are receiving their curtain calls. He seems to remember his days in the back of the percussion section. The Berlin Philharmonic is definitely his orchestra now, and it’s a far cry from the imperious reign of Herbert von Karajan.

Berliner Philharmoniker will perform again January 27 & 28 in Isaac Stern Auditorium (Carnegie Hall, 881 Seventh Avenue, at 57th Street, 212-247-7800).