The pieces in the Quad City Symphony's fourth Masterworks concerts of the season would seem to have little in common: modern post-minimalism, a Mozart concerto, and a symphony rooted in religious faith. Yet in different ways, the presentation of each piece on February 7 unlocked the music.

Revisiting Michael Torke's Quad City Symphony-commissioned Oracle, the orchestra reached a comfort level with the composition that brought to light new facets through a sparkling, seasoned performance. Demarre McGill, principal flutist with the Dallas Symphony, redefined his instrument as muscular yet supple in an imaginative treatment of Mozart's Concerto No. 1 for Flute & Orchestra. And the highlight of the program was a towering performance of Anton Bruckner's epic Symphony No. 4: Romantic, aided significantly by introductory comments that framed it in the context of the composer's life.

With the premiere of a nebulous, esoteric piece and a dark, densely sobering Brahms concerto behind him, Music Director and Conductor Mark Russell Smith picked up the microphone to address the audience before the second half of the Quad City Symphony's November 1 concert at the Adler.

The audience was likely looking for some emotional relief, but Tchaikovsky's Pathetique symphony loomed, with its morose "Finale" - creating the potential for a depressing albeit well-performed concert.

Smith set an optimistic tone. He called the Pathetique "Tchaikovsky's greatest symphony" - pointing out the "life lived" through this music and focusing attention on its innovations.

His words were the right message at the right time. In framing the concert's centerpiece, Smith helped pull the audience through the performance, allowing it to appreciate the trio of challenging pieces without getting sucked under by bleakness.

Looking despondent, the young conductor was comforted by his mentor. "Think of it this way, my son," the old maestro began. "If everyone was equally dissatisfied with your repertoire, at least you gave them a balanced season."

It's an old joke, but it sarcastically underscores the futility of finding music that will satisfy everyone.

But, in the Quad City Symphony's 100th season, Music Director and Conductor Mark Russell Smith has fashioned a carefully considered, diversely adventuresome musical celebration that includes a balanced sampling of masterpieces, premieres of six new commissioned works, and guest soloists ranging from world-class recording artists to members of the orchestra.

It's a dream season that lies ahead, but it's been an evolutionary process for Smith to get there.

Through the thick melodic honey of Russian Romanticism and the ever-changing musical illusions of a contemporary American composition, the Quad City Symphony on December 7 fashioned a successful concert from two divergent approaches to lyricism. Although the symphony occasionally blurred the differences between melodies and their accompaniments, they achieved resplendent moments of uplifting splendor in both pieces.

The program paired Jennifer Higdon's imaginative, three-movement Violin Concerto - which won the 2010 Pulitzer Prize - with Sergei Rachmaninoff's profusely tuneful Symphony No. 2. Separated by a century of musical development, these works feature vast differences in compositional technique and tonality: Rachmaninoff worked in the customary symphonic form while Higdon writes improvisationally, and Rachmaninoff used traditional harmonic structure while Higdon employs a variety of tonal systems developed during the 20th Century.

But they are similar in using lyricism or songfulness as the primary means of self-expression. Consequently, in both cases, the artistic challenge for the Quad City Symphony was the same: to emphasize, with dynamics and stylistic nuances, melodic and motivic fragments and differentiate them from background sounds and accompaniment - a task the orchestra and its guest conductor struggled with in the first movement of Rachmaninoff and throughout Higdon.