THE ESO's new autumn series gives vent to such unfettered expression as was at its height during the late 19th and early 20th centuries.

Conducted by William Boughton, the first concert was hallmarked by dynamic shadings and rubatos which enriched the music.

Siegfried Idyll, by Wagner, opened with most beautiful string playing, and as horns and woodwind became involved passion intensified. Worthy of note was the featured horn solo.

Japanese, Noriko Ogawa, was soloist in Schumann's Piano Concerto in A minor.

In this the orchestra was a splendid match for her. Its responses during the Alle-gro affetuoso were exact, and the orchestral mimicry of the piano in the Inter-mezzo was accomplished with skill.

The pianist's lengthy first movement solo section was aesthetic, yet commanding, and the last chords with the orchestra, absolutely together. In conclusion, the musicians rejoined in a tightly marked rhythmic section, before ending with impassioned beauty.

Noriko had given a superb interpretation with the ESO, a fine honest musician subservient totally to the composer.

Symphony No.6 in F major: Pastoral, by Beethoven, produced yet more expressive playing from the instrumentalists as they recreated the evocative suggestions of rural life. String playing, distinctive in its precision, introduced the third movement, soon followed by a first-rate ensemble of woodwind, incorporating several solo episodes. The held trumpet, over pauses, was very effective.

Storm and Tempest was clangorous with harsh strings and brass, but at the last we heard a elegant pianissimo to preface an ending of thoughtful calm.

The series continues on Friday, October 25, when Bruch's Violin Concerto No 1 will be included in the programme.

Jill Hopkins