But the piece de resistance was the Symphony No. 4. As the orchestra played it, it’s all about subtext. Was this, as the program notes asked, the lament of a closeted gay man trying to make the best of a bad situation in a homophobic society…or simply a self-portrait of a tortured artist? Either way, it worked. The angst was relentless when it had to be, particularly during the stalking, vamping second movement, which has become a template for horror film themes over the years. Bookending it were steady, similarly relentless themes that came across, in a far more subtle way, as being just as tormented, if in their dogged pursuit of something that seems just around the corner but never arrives: a suspense film for the ears.