his was an exceptionally brilliant and grandiose reading of Beethoven’s Emperor Piano Concerto by the Leipzig Gewandhaus Orchestra and Canadian pianist Louis Lortie (replacing the originally scheduled Nelson Freire), one which struck this listener as being profoundly and sensitively attuned to the work in all its aspects.   In Mr. Lortie’s playing, the heroic spirit as conceived by Beethoven was revealed to be both physically robust and spiritually refined.  Gloriously accompanied by Italian conductor Riccardo Chailly and the Gewandhaus Orchestra, the performance as a whole communicated a sense of what one can only call serene exultancy.  Particularly of note was the Gewandhaus’ superb principal flute in the many deliciously sublime passages of the Adagio.   The first-movement Allegro opened with pomp and grandeur befitting its “Emperor” nickname.  The  Adagio was a delicate vignette of poignant old memories without being maudlin.  The final Rondo bristled with energy and jaunty high spirit.   For the Beethoven Symphony No. 7 that followed the intermission, maestro Chailly opted for blazing speeds and yet ultra refined playing from his most excellent Leipzig musicians.  All sections of the orchestra blended seamlessly into one breathing organic whole, but one could not help but notice the outstanding contributions from the winds, the flutes in particular, in the first movement ‘s galloping theme as well as the Trio sections of the Scherzo.