A TV theme song, a star soloist and a heaven-storming symphony. With the last concert of their season at Strathmore on Saturday, music director Marin Alsop and the Baltimore Symphony Orchestra put together a crowd-pleasing program that sent the audience into the summer riding a musical high.

The highest of those highs came from Gil Shaham and his rapturously beautiful account of the Beethoven Violin Concerto. The ever-popular American violinist displayed his prodigious technique: an astonishing sweetness and purity of tone, immaculate intonation, and the ability to dispatch the formidable cadenzas by Fritz Kreisler (with added embellishments) with ease.

Yet virtuosity was always a means to expressive ends, as Shaham brought out the exquisite lyricism and tense drama of this most beautiful of concertos. Especially breathtaking were Shaham’s seemingly infinite gradations of soft playing. Refreshingly, he maintained a classical poise, using, for example, crisp articulation to keep the slow movement from sounding cloying. Alsop and the orchestra offered sensitive and alert accompaniment.

The concert opened with the premiere of Christopher Theofanidis’s “The Game,” the last of 10 commissions for the BSO’s centennial season. The unveiling of a new work is often like a spoonful of medicine. But on Saturday, even this new piece boasted a pop culture connection: “The Game” is an orchestral take on Tom Waits’s “Way Down in the Hole,” a different version of which was used as the theme song for each season of the HBO series “The Wire.”

The brassy three-minute work, while raucous, lacked the funkiness and distinctive voice of its predecessors. As the ambitious drug dealer Stringer Bell from “The Wire” would have said, this new package is weak.

The same would never be said about Saint-Saëns’s extravagant Organ Symphony, which closed the program. At times Alsop favored understatement and sought profundity where there was none to be found. (For organ purists scoring at home, the BSO used a rented digital instrument.) But the performance hit its stride in the propulsive passages, and in the finale, Alsop and the orchestra embraced the work’s garish eccentricity to make a triumphantly glorious noise.