Seven timpanists attacked their instruments, ranging from gongs to cymbals to drums. The rich golden sound of the brass choir filled the hall, and the strings' silken tone sang a duet with the unusually large wind section. Then it all stopped for the spell-binding, unbelievably soft choral entrance.

As the San Francisco Symphony, led by famed conductor Michael Tilson Thomas, completed its seventh and last performance of Mahler's Second Symphony June 26, the audience was electrified. Ovation after ovation filled the hall, bringing Tilson Thomas repeatedly to the stage. For many, it was far and away the best rendition they had heard of this potentially hyperbolic and repetitive work. When the CD is released later this year, more will have the opportunity to judge, including those who decide whether Tilson Thomas will receive his third Grammy for a Mahler recording.

Visitors to San Francisco will not want to miss the renowned symphony ( www.sfsymhony.org ), especially when the chorus is singing ( www.sfsymphony.org/templates/chorus.asp?nodeid+79 ). This season, the San Francisco Symphony Chorus director, Vance George, celebrated his 70 th birthday and his 20 th season in his position. The choir's guest directors read like a who's who of great conductors. And the symphony's commitment to the singers is noteworthy: The chorus appears with the orchestra at least 26 times each season.

The symphony itself, which boasts a venerable history since it was founded in 1911, has risen to new prominence under Tilson Thomas' inspired direction. Its home, the user-friendly Louise M. Davies Symphony Hall built in 1980 is a testament to both public and private commitment to the arts: More than 6,000 individuals, foundations and corporations gave the money needed to build the Hall, while the City of San Francisco donated the land and the State and Federal governments gave a total of $10 million toward the $28 million project. It is often filled to capacity, so early ticketing is advised, and listeners will appreciate the way its initial acoustics were modified in 1992, adding transparent reflectors that hover gracefully above the stage like giant butterflies.

That concert was Saturday night of a music-filled weekend. Sunday morning, a different treat awaits the visitor- the multiplicity of church services, all with outstanding musical leadership. In fact, some church choirs included members of the Symphony Chorus.

I attended the downtown Grace Episcopal Cathedral (www.gracecathedral.org ) for an inspiring and inclusive service: I listened to a South African minister who had lost en eye and two hands to a mail bomb, preach about forgiveness, and took communion from a cup clutched in the two hooks in which his arms ended. (For more information on church services, check out -

www.sanfranciscocomerchants.com/category/churchesreligion.htm.)

I listened to some beatific music. The church is known for its men's chorus; however, the rather muffled version of Phillip Tomblings' Seek the Lord” disappointed me slightly. But the mixed chorus anthem, the familiar “If Ye Love Me” by Thomas Tallis, was exquisite, its carefully crafted, overlapping lines floating, intertwining, and cadencing effortlessly. And the AEolian-Skinner organ, built in 1934 with additions in 1974 by Casavant Freres, was beautifully showcased by Cantor and Associate Choirmaster Boyd Jarrell. The organ's almost 7,500 pipes make it one of the largest organs in the Western United States and the postlude, the alternately crashing and delicate “Final” from Vierne's “Organ Symphony No 1,” made use of most of them.

Then it was time for jazz. Just up the road in Mill Valley, across the short, but scenic Golden Gate Bridge, is The Sweetwater, a narrow bar crowded with tables, where strangers cheerfully welcome you to sit with them, where aging platinum blonds enthusiastically join youthful counterparts on the dance floor; where a cheerful waitress memorizes your order and delivers it immediately-and where a jazz combo hold forth most Sundays of the year at 4 p.m. ( www.sweetwatersaloon.com ).

In fact, for 30 years, The Sweetwater has been a leading player in the music world, giving bands such as Santana and Juey Lewis and the News their start. The Sunday jazz performances however are a celebration of local talent organized by saxophonist Jules Broussard ( www.broussard.com ), whose credits include stints with the likes of Ray Charles and Art Garfunkel, and whose swarthy sound graced most of the tunes.

Request were taken (but once no more were forthcoming, Broussard ended that portion by saying, If you have any more, keep them to yourself”), and the invitations to jam offered. A revolving cast of players gave the event an informal feel while offering some top-notch music. The day I attended was a celebration of a new CD by visiting vocalist Marsha Remas, who walked around the room offering everyone free cake and champagne. And the music ranged from easy listening to rock, from James Brown to Charlie Parker.

Every now and the, Broussard would look out at his beaming admirers, and say, “Mmm, mmm, look at this crowd – every Sunday for the next 10 years!”

Amen to that! Happy Traveling!

Photos: cathedral1 and 2, Davies Hall, jazz