Here comes high fall, though it's hard to tell with an eerie ongoing processional of heat and humidity, steadfast greenery and nary a sign of any bright foliage — because that's the way the world is now. Perhaps it's best to start those autumnal clocks according to the start of new seasons for various arts organizations.

The Eastern Connecticut Symphony Orchestra is a gold-standard example. The revered ensemble, now in its 9th year under the stewardship of conductor/music director Toshi Shimada, kicks off its 2018-19 campaign Saturday in New London's Garde Arts Center with a concert titled "Rapture and Rhapsodies." Pianist Svetlana Smolina is the guest artist, and the program includes Enescu's Romanian Rhapsody No. 1; Rachmaninov's Rhapsody on a Theme of Paganini; Rouse's Rapture; and Ravel's Rapsodie espagnol.

This also marks the start of the fourth year for executive director Caleb Bailey, who says the collaborative efforts between himself, Shimada, the musicians and entire staff have been continually energized by a sense of instinct and a sense of adventure.

"Half of what we do is based on intuition and going with the excitement of a possible project even if it doesn't seem immediately feasable," Bailey says. "The idea is to be captivated by something, letting the dreamers conceptualize, then figuring out how I can help them bring it to reality."

Bailey says a lot of ideas come to fruition simply because they know how to prioritize and focus. "Toshi and I have always had good synergy, and it helps that we both like music." He laughs. "But we also know how to put certain things on the back burner. We pay attention to what our community might be craving in terms of repertoire; what inspires the board members; and who can we serve with our mission of performing orchestral music."

Of course, the ECSO blossoms with elite players, far beyond the expectations of what might considered a "small regional orchestra." And their individual and collective abilities are galvanized by Shimada's vision and leadership.

Bailey says, "Toshi is so affable and lovable, and his programming is so innovative — a blend of old favorites and underperformed but excellent works as well as pieces by a new generation of composers — that our players want to be with him. These musicians are so good that playing here isn't just about a paycheck. They want to grow with Toshi as we all chart this path forward."

It's also important that Bailey and Shimada recognize the rapidly transforming demographics of entertainment in the modern, device-happy world of countless options and lightning-flash attention spans.

"For me, the pervading theme of what we do is that this is a busy time in our lives," Bailey says. "People are craving vibrancy and space through a real-time event — dining out or being on the water — and we think an ECSO concert fulfills these impulses. To hear 65 musicians onstage making music acoustically and with passion, it's a moment that won't be repeated. It's the anti-viral, and that's the value proposition of live symphonic music. This music comes at you from across centuries, because it's stood the test of time, but it's also true that each performance is completely unique. That's an amazing experience, if you think about it."

A note regarding time for longtime subscribers: The ECSO concerts will start at 7:30 p.m. this season instead of the 8 p.m. start in years past.

Below is the full season schedule, and we asked Milton Moore, the now-retired Day classical music critic, to look at the new ECSO season and provide brief commentary.

Saturday — Rapture & Rhapsodies (pianist Svetlana Smolina, guest soloist)

Enescu, Romanian Rhapsody No. 1

Rachmaninoff, Rhapsody on a Theme of Paganini

Rouse, Rapture

Ravel, Rapsodie espagnol

Moore: "All music from the last century with the exception of the Rouse, which stuck its toe into this century in 2000. The big hit here is the Rachmaninoff, a staple of concerts everywhere. It's very much a throwback in structure and style, a piece written in 1934 for piano and orchestra that ranges across 24 variations, from a glowering quotation of the dies irae to one of this sentimental composer's most sentimental lyrical swoons."

Nov. 17 — Festival Italiano (ECSO principal violist Barbara Wiggin, soloist; also featuring Eastern Connecticut Symphony Chorus)

Stravinski, Pulcinella Suite

Tower, Purple Rhapsody

Verdi, Stabat Mater

Mendelssohn, Symphony No. 4

Moore: "Pulcinella is built on 18th-century themes. It started as a ballet, and this nice little version is a short suite. The Mendelssohn is a bedrock piece — high energy and tuneful. The first movement's development section is pure genius, in which he takes just a section of the bridge material between the A and B themes and builds a rattling fugue from it."

Jan. 26 — Fantastic Fantasies (ECSO violinist and concertmaster Stephan Tieszan, ECSO principal bassist Thomas Green, cimbalomist Nicholas Tolle, soloists)

Tchaikovsky, Hamlet: Fantasy Overture

Bruch, Violin Concerto No. 1

Vanhal, Double Bass Concerto

Kodály, Háry János Suite

Moore: "The Bruch is another bedrock piece, beautifully through-composed, especially the slow movement, which quickly boils up with one of the most ecstatic passages in the literature. This is real visceral Romanticism without the indulgences of most late Romantics: It's compact and direct. Mixing this with the Kodaly is brilliant programming. The tangy Hungarian harmonies — Kodaly was in that wave of nationalists like Bartok — are a perfect aperitif following the Bruch."

Feb. 23 — Journey Home (cellist and 2018 ECSO Instrumentalist Competition winner Justin Park, soloist)

Beethoven, Egmont Overture

Prokofiev, Sinfonia Concertanta

Dvořák, Symphony No. 7

Moore: "Both the Dvořák and the Prokofiev are both good experiences and tuneful, but also overly idiomatic."

March 23 — Springtime Lark (violinist Tessa Lark, soloist)

Tower, Fanfare for the Uncommon Woman, No. 6

Torke, Sky (an ECSO co-commissioned bluegrass-inspired concerto)

Rachmaninff, Symphonic Dances

Moore: "Tessa Lark is a great performer. I can't think of another soloist who connects with the audience like her. And a second Rachmaninoff? Well, it's a crowd pleaser with a huge wind section and lots of well-known tunes."

April 27 — Titans (featurinig Eastern Connecticut Shymphony Chorus)

Beethoven, Prometheus Overture

Mozart, Mass in C Major (Coronation)

Mahler, Symphony No. 1 (Titan)

Moore: "The Mozart is one of his most enduring masterpieces, alongside his Requiem. This is one of the most-performed orchestral masses worldwide for good reason. Unlike the Verdi, this Mass has many wonderful sections of counterpoint. A nice test for the chorus."

"Rapture & Rhapsodies," Eastern Connecticut Symphony Orchestra, 7:30 p.m. Saturday, Garde Arts Center, 325 State St., New London; $31-$65, $12 seats available to patrons under 40 and current or retired military personnel; (860) 443-2876, ectsymphony.com.