The singing tonal qualities of Francesco Piemontesi’s piano playing attained that magical balance of elegance and energy in Mozart’s Piano Concerto No25 in C.

Following the orchestral declamation Piemontesi entered on a peaceful paragraph carrying the melodic themes to the light and lively cadenza.

The Andante’s prepossessing serenity was effortlessly evoked and the finale’s circulating tune swept along through many embellishments with assured finesse.

Hearing such a fine performance one can well appreciate Tchaikovsky’s love of Mozart’s music. Powering Tchaikovsky’s Symphony No5 is a personal prospect of which the all-embracing fate motif is the underlying herald.

A rising star, conductor Leo Hussain confirmed his ascendancy in this performance, inspiring the willing BSO players to exceptional heights.

If, arguably, the smoothly lingering opening underplayed the doleful mood, Hussain’s cogent account from there-on called for the fullest commitment; urging solos and sections to exalted expression, lifting lines with a dynamic edge without impeding the musical impetus.

With a lovely solo horn melody from Nick Wolmark in the second movement, Hussain developed crescendos with convincing authority.

The witty Waltz hinted at something happier in life yet Hussain had the knack of making the finale’s upbeat motto ambivalent.

Building through evolving climaxes-outstanding string playing too-the ebb and flow culminated in a thrilling, stirring coda.

Mozart’s Overture to Idomeneo provided aptly dramatic interest.