Conductor Eduard de Waart rightly claimed that Mozart's treasure - the Piano Concerto No. 24 in C minor - "is in safe hands with the brilliant Ronald Brautigam", de Waart's Dutch countryman.
One of only two of Mozart's 24 piano concertos written in a minor key, conductor and soloist combined to ensure a performance that fully conveyed the slightly darker, dramatic character of the music, contrasted with moments of extreme happiness.
Every expressive nuance seemed in place, with elegant shape to each phrase and every note projected with absolute clarity.
The playing of the slow movement, where the parts of the soloist and solos within the orchestra dove-tail so often, was a highlight of the performance, while the way in which the character of each of the variations in the final movement was shown, emphasised the skill of composer and soloist. It was magical.
Each of Beethoven's nine symphonies is a masterpiece but Symphony No. 7 in A major is one which is certainly popular with audiences - especially when played as it was in this concert.
The link between the long introduction and the Vivace first movement was brilliantly handled, setting up the rhythmic intensity that permeated all four movements. The richness of sound in the expansive slow movement was always strongly projected, throwing the exhilarating brilliance of the scherzo into sharp contrast.
Composer Richard Wagner described the Finale as "the apotheosis of the dance" - and dance it did, with playing that created huge excitement in a brilliant climax to the concert.
