IF only there were more concertos for the viola we might enjoy more of Maxim Rysanov’s beautiful, rich-toned playing.

As it is Berlioz’s gift to the repertoire is the Byron inspired Harold in Italy; symphonic with viola obbligato, following a poetic programme.

Harold’s theme emerges gracefully in the scenic splendour of mountains, relaying emotional responses in Rysanov’s excellent playing.

The March of the Pilgrims and the Serenade brought a host of subtle masterstrokes that gave the inner movements luminosity while the finale, Brigand’s Orgy, began to resemble Haydn’s Farewell Symphony with The soloist absent, soon followed by a trio of string players, eventually forming the off-stage quartet at the centre of the otherwise riotous finale.

To complete Rysanov’s coup his encore with the BSO was the lead into, and finale of, Tchaikovsky's Violin Concerto – now there’s a programming novelty.

Vassily Sinaisky’s superb direction naturally spilled over into his enthralling account of Tchaikovsky Sixth Symphony. This is music inebriated with emotion, prosecuted with Sinaisky’s powerfully intuitive musicianship to wring out thundering climaxes, soul-searching harmonies and rhythmic nuances. The richly passionate entry of the finale was set to contrast all the more poignantly against the despairing, extinguishing gloom.