The first two Eastern Connecticut Symphony Orchestra concerts this season led by new music director Toshi Shimada were revelations: He revealed just how good this orchestra is.

We had a taste of Shimada's effect last season when he auditioned. At intermission, after hearing a breathtaking performance of the Ravel piano concerto, audience members milled about in the lobby of the Garde Arts Center shaking their heads in disbelief.

Is this the same orchestra?

With just a couple personnel changes (mostly in the cello section, yes, it is.

I think that Shimada has the knack for tapping the talent that was always here.

The previous music director, Xiao-Lu Li, had stayed too long, a common cause of malaise in an orchestra. Unless there's an uncommon synergy between the musicians and conductor, a change at the top energizes everyone.

Now, the ECSO has a new sound, as Shimada seems to have all but mastered the acoustics in the Garde and learned to balance the many voices.  It has a new repertoire, as Shimada branches out to music both earlier, such as Classical-era masters Mozart and Haydn, and more contemporary, such as the Takemitsu performed Saturday, than the repertoire favored by Li. And it has a new face, as Shimada’s cheerful and casual approach addressing the audience puts everyone at ease.

So it's a chicken-or-the-egg question: Was the ECSO always this talented, or did Shimada push the orchestra up to the next level?

The obvious dodge: The answer is "yes."

The 80-odd musicians could always play, but Shimada knows how to let them, all within the confines of his broad vision for each phrase, each movement, each work as a whole.

I get the sense, from the lobby buzz, Shimada has energized the audience as well. Longtime ECSO concert-goers should add their comments and confirm or confound my take on his effect.