Composer Ellen Zwilich's 'Millennium Fantasy for Piano and Orchestra' began a long journey Friday night at Music Hall. Commissioned by a consortium' of 27 U.S. orchestras, the work was given its world premiere by Jeffrey Biegel and the Cincinnati Symphony led by music director Jesus Lopez-Cobos.

    In keeping with its soon-to be broad exposure, it is a broadly appealing work. If only 1,297 people turned out to hear' it Friday, chalk it up to fear of the unknown.

    Biegel, who approached Ms. Zwilich to write 'Millennium Fantasy,' asked for something on the order of Gershwin's "Rhapsody in Blue.” You might call it "Rhapsody in Sage" instead, for its use of a folk song, “Come All Ye Fair and Tender Maidens” (compare “I am a Poor Wayfaring Stranger”) and its meaty, flavorful construction.

    In two-movements, the 20 minute work also recalls Vaughan Williams' 20th-century masterwork, "Fantasy on a Theme of Thomas Tallis," not just in the shape of the tune, but in the use of plucked strings at the beginning. There are vigorous jazz rhythms - a three note syncopated motif recurs throughout - and a lovely ruminative passage in the second movement reminiscent of Bartok or Shostakovich.

    Shostakovich's 15th and final symphony is remarkable for its allusions to other music, extensive use of solo instruments and frequent, almost chamber music textures. If one were to search for meaning, most likely would be contemplation of death. How else to explain the progression from perky, "scherzoid" first movement, to dirge-like second, ironic third and fatalistic fourth?

    And there are those quotes. It is startling, especially to those reared on "The Lone Ranger," to hear Rossini's “William Tell Overture" interlude merrily on the opening movement. There' is also a big climax right out of the composer's own 10th symphony in the Adagio- and, in the finale, the "Fate" motive and timpani beats that signal Siegried's death in Wagner's "Ring." Lopez-Cobos put just the right spin on another Wagner quote, from the Prelude to “Tristan and Isolde,” where instead of a crushing dissonance, Shostakovich segues resignedly into a wan little dance.