Last September 13, the New York Philharmonic began its 2006–07 season with a not-so-good concert. On Saturday, they will end it with a much better one, I’m sure. How can I be so confident? Because I heard the Wednesday version of the concert, and it was superb.

In his years with the orchestra, Maestro Lorin Maazel has liked to finish the season with a Mahler symphony. He does not invariably do so, but he often does. And this year he is finishing with the Mahler Seventh.

At about an hour and 20 minutes, the work is pretty much a full concert, and orchestras may decide to play it by itself — that is, unaccompanied by anything else. But Mr. Maazel has a soprano for four songs of Strauss.

“The Four Last Songs,” right? No — four different songs, orchestrated by the composer (and we are reminded — if reminding is necessary — what a brilliant orchestrator he was). These songs include two of his most famous, “Befreit” and “Morgen.” And two of his most operatic — two of his biggest, loudest, and most rhapsodic: “Lied der Frauen” and “Frühlingsfeier.” On hand to sing these songs is one of the leading Strauss sopranos of our time, Deborah Voigt.

She was impressive on Wednesday night, if not her best (which is a world-bestriding best). In the main, she was free, although some constriction set in. In the main, she was on pitch, although she occasionally fought the flats, particularly in “Morgen.” Some notes were a little shaky, worrisome; other notes were perfectly and beautifully Voigtian.

Was she too opulent in these songs? No, they can bear plenty of opulence, and Ms. Voigt has other qualities, too. Well, was the orchestra too loud for her? Maybe — but Mr. Maazel did not think of himself, or the orchestra, as a mere accompanist. They were equal partners. And Mr. Maazel conducted this music well, not letting it become soup — as can happen in Strauss — but giving it solidity and structure.

He was grossly mannered in “Morgen” — committing awkward pauses and elongations — but otherwise he was swell.

Incidentally, the orchestrated “Morgen” contains one of the most famous violin solos in Strauss — and the concertmaster, Glenn Dicterow, played sweetly, if not with his best intonation. He, too, fought the flats.

When the four songs were through, Ms. Voigt and the orchestra offered an encore, and it was an encore we regularly hear from singers: Strauss’s “Zueignung.” Ms. Voigt used it as an encore in her recital at Carnegie Hall last month, too. With the orchestra, she did not sing it as successfully as she had at Carnegie — as beautifully, unerringly, and gratifyingly. But she was still Deborah Voigt.

So, from Strauss to Mahler — Mr. Maazel excels, or can excel, in both of them, as few conductors can. Probably the most electrifying performance I heard all season was Mr. Maazel in the Final Scene from Strauss’s “Salome.” Who was the soprano soloist? I’m afraid it doesn’t matter, really. It was a Lorin Maazel production, and, as I say, electrifying.

In the Mahler Seventh, he had an A-1 outing. His knowledge of the score — its highways and byways — is unquestionable. But, on Wednesday night, he was utterly alive, too: engaged, enthused, and very, very musical. He was full of resolution and pep, without a trace of lethargy, mental or physical. On the podium, he prowled, and danced, and generally performed. Did he show off? No — he was always serving Mahler’s, and music’s, purposes.

The first movement had mystery, precision, and a sense of destiny. The conductor was largely straightforward, with no Maazeling around. He knows that this symphony is a long journey, and must be properly paced. The two “Night Music” movements were faster than usual — but not too fast at all. And, throughout the symphony, every part in the orchestra was clear. Moreover, contrasts in rhythm and dynamics were right-on.

In those “Night Music” movements, things never turned maudlin or lugubrious — that often happens (wrongly, I believe). Indeed, this was an unusually chipper Seventh. The Scherzo was not so much chipper as playful, surprising, and a little bit jazzy. Also, it was laudably accurate, from the big band onstage.

And the final movement provided the payoff we want. It was a sustained jolt of joy and majesty, ennobling and exhilarating. At one point, I laughed out loud, as Mr. Maazel was jazzing it up, wringing every drop from this amazing score. Laughter may be unusual in a concert hall — and you never want the scornful kind! — but it can come naturally. A few seasons ago, Mr. Maazel made a woman in the audience howl with glee. This was during a Brahms “Hungarian Dance.” He turned in her direction, with an amused, wondering look on his face.

Technically, the final movement of the Mahler Seventh was not perfect. The band threatened to go off the rails once or twice. But the spirit flowing through the baton, and hence through the players, made up for any bobble.

Whatever happened in that Strauss song, Glenn Dicterow played superbly in the symphony. The principal oboe, Liang Wang, distinguished himself, too. And the principal horn, Philip Myers, was on top of his game — living up to his high reputation.

Next season is Mr. Maazel’s last with the Philharmonic, and he is not scheduled to end with a Mahler symphony. He is scheduled to end with the Bruckner Eighth, one of the mightiest of all symphonies. Will Mr. Maazel scale the heights or lay an egg? Stay tuned.

On Wednesday night, the Philharmonic observed its tradition of honoring those members who are either long-serving or retiring. (Often, they are both.) One of the retirees this year is Kenneth Gordon, a violinist. A photo in the program showed him at 12, after his debut with the NBC Symphony (Leopold Stokowski, conducting). He is at a post-concert party, and he’s playing his violin. Accompanying him on the piano is — Fritz Kreisler.

As photos go, that is a keeper, wouldn’t you say?