Two works, shrewdly paired, with some not dissimilar open-air attributes from those masters of musical advancement, Berlioz and Beethoven.

Berlioz’ inspiration for Harold in Italy came from Lord Byron’s Childe Harold’s Pilgrimage, Harold being represented by the viola. Ralf Ehlers was the obbligato soloist playing an instrument made by him (presumably using a bow-saw!) and that is talent in itself.

Scenes of melancholy and happiness follow Harold trudging in the, mountains, cogently evoked, and nicely accompanied by harpist Eluned Pierce. March of the Pilgrims is a hymn-like progression in which Ehlers’ timbre emanated from the viola’s bridge.

The Serenade drew cheery, rhythmic dance episodes and under Kirill Karabits’ superb guidance the finale-Brigands’ Orgy-recalled past movements, Ehlers’ was barely allowed a look-in here, and the tumultuous finale ‘where they laugh, drink, fight, destroy, violate and utterly run riot’ was bitingly captured. Sounds familiar, does it not?

Beethoven’s Symphony No6 ‘Pastoral’ takes in nature in all its wonderment, furnishing orchestral detail in bird calls and a lazily babbling brook. Karabits’ account could not have been more good-natured; warm and sunny (except of course the wild precipitation in the Thunderstorm scattering the merrymakers). The relief of the Shepherds’ as the storm passed was palpable and Karabits’ made the closing prayerful finale an absolute joy; we really did leave with feelings of happiness.