Nothing is more thrilling than seeing a maestro (pun intended) of their respective field do what they are celebrated for. Think of watching Marlon Brando in a play, Martha Graham dance or Aretha Franklin sing. The minute Joe Hisaishi, one of the most lauded living composers in the world, buoyantly runs onto the orchestra stage and waves his baton to start playing, the room becomes electric.

Hisaishi is best known for his collaborations with Studio Ghibli and its leader, Hayao Miyazaki, scoring all but one of their films. His whimsical soundtracks to iconic animated films such as “My Neighbour Totoro” (1988) and “Spirited Away” (2001) are internationally renowned for their memorable contributions to their respective films; some of his compositions, such as “Merry-Go-Round of Life” from “Howl’s Moving Castle” (2004), exist in the popular imagination as a symbol of the film itself.

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It is impossible to separate these famous films from the composer, as evidenced by a young woman sitting behind me wearing full Studio Ghibli merch (including a mini Totoro sitting on her lap, also watching Hisaishi). But he and the Los Angeles Philharmonic held their own in this concert performance, playing two pieces that are probably not known by anyone in the audience who does not have a background in classical music.

The first two pieces, “Adagio for Strings and Two Harps” and “Harp Concerto,” made their L.A. Phil premieres, with the latter also serving as its world premiere. They were both written by Hisaishi, and it shows; the familiarly colorful world present in his soundtracks is a throughline in his other works.

Toward the middle of the adagio, two harps played almost in conversation with each other. Even to those with little understanding of playing classical music, the specificity of the two instruments in tandem is a complex feat. In this, he also shows off his particular bravado in moving intensity, a skill necessary in his cinematic storytelling. Hisaishi also incorporates the minor pentatonic scale mirrored in the harp and piano, often used in traditional Japanese music.

The concerto was written specifically for French harpist Emmanuel Ceysson, who lead the orchestra with delicacy and ease. This piece is much more upbeat than what is typically heard from Hisaishi. Still, the delicate yet dynamic instrument, combined with Ceysson’s profoundly emotional performance, brought back the familiar colors of a classic Hisaishi piece. For the few minutes in which the rest of the orchestra quieted and the only person playing was Ceysson, he had enough bravado to command the entire concert hall as Hisaishi faced the other direction, trusting.

After this, Hisaishi went offstage. In perhaps the most enchanting moment of the night, Ceysson played an impromptu “One Summer’s Day” — the instantly recognizable theme from “Spirited Away.” As the first few chords played, audience members of all ages gasped and looked at the people next to them in an “Is this really happening?” moment of realization. When Hisaishi came back onstage, he was crying.

For the namesake of the night, he began “Pictures at an Exhibition.” The opening lines are enthralling; it opens with trumpets comparable to a rising sun. Russian composer Modest Mussorgsky wrote the piece as a piano suite over 150 years ago, yet it contains the same storytelling sensibilities as the conductor’s most famous works. Both composers are known for their ability to paint with atmosphere and, despite Mussorgsky coming before movie soundtracks, an inherently cinematic flow.

Hisaishi brought all from the high-octane to the tranquil in a moment, with such flow that the audience barely realized it was happening. The piece ended with rapturous percussion made to sound like church bells, bringing the house to a complete standing ovation.

Hisaishi does not work for the applause, though. Each time he entered and exited the stage, he received claps, and each time, he turned to the orchestra and asked them to stand for the applause as well. He is a uniquely vivid and high-spirited conductor, feeling the music from start to finish. He swayed back and forth with confidence through the varying dynamics of the pieces.

It cannot go unnoticed that the music was helped tremendously by the acoustics of the beautiful Walt Disney Concert Hall, designed by Frank Gehry. Strings have never sounded so all-encompassing as in this modern yet elegant space.

In film soundtracks, the music is meant to underscore the story of the images in front of you. One might close one’s eyes throughout the performance to isolate this quality. Still, the magic of the live orchestra and Hisaishi’s music is that the images are created before you; no animation is needed.