Anthony Goldstone (pianist) and the ESO, with William Boughton conducting, achieved an outstanding interpretation of Grieg's Piano Concerto in A minor, Op.16.

It was borne of Gold-stone's masterful pianism and his integrity in understanding the composer's intrinsic perception. It was detailed carefully, aesthetically and spiritually evocative of the composer's Norwegian roots.

From the first expansive cascade of Allegro molto moderato, we were ent-ranced by the soloist's poetic eloquence, alongside graphic orchestration which included superb low strings singing the first movement theme, and a beautiful duet between a horn and the pianist during the second movement Adagio.

A lengthy pause observed between the first two movements gave serene strings significance as their entry followed.

Crisp, strongly accented rhythmic playing and a bravura delivery of daring double octaves from Goldstone, combined with the full orchestra in a resounding finish.

Brahms's Symphony No.4 in E minor Op.98 was a most satisfying exposition, also. Lovely high strings pervaded the opening stages until the woodwind provided contrast with a tightly rhythmic section. Warm toned horns introduced the Andante moderato, and gorgeous melodic cellos continued in tandem with high staccato strings.

The third movement Allegro giocoso was taken at a very brisk pace, but never-the-less was phrased clearly, and the last movement, an heroic Passacaglia with twenty-five variations, the theme announced forcibly by woodwind and brass, concluded in a tumultuous finale.

Jill Hopkins