After intermission came a joyful and unapologetically splashy account of Saint-Saëns’ Second Piano Concerto (the identification of Saint-Saëns as a gay man, by the way, seems to be a matter of conjecture and inference rather than known fact, but it’s not one I’m inclined to dispute). Sara Davis Buechner was a formidable soloist, bringing depth and eloquence to the broad opening movement and gleeful technical assurance to the rapid-fire finger-busting movements — not one but two of them, back to back — that make up the rest of the concerto. Morgan and the orchestra provided nimble accompaniment.
