The second of this series of concerts celebrating Mozart's music, embarked with a scintillating interpretation of Serenade in G K525 'Eine kleine Nachtmusik'. The familiar Allegro was given a clean-cut, sprightly quality. Through the Rondo the ensemble of strings showed unanimity of thought in their playing.

Adagio & Fugue K546 featured a mournful two note figure which was heard clearly through each section, before a boldly delivered fugue, in which intense polyphony rose to an emphatic closing cadence.

For Symphony No15 in G, K124 oboes and horns joined the strings. The first quick movement incorporated some meaningful pauses and top quality unison playing, while the third, in quick tempo also, produced a refined echo effect of repeated phrases.

Michael Bochmann, director, was soloist in Violin Concerto No3 in G, K216 and his performance was one of excellence, such as we expect of him. In the Adagio, Bochmann's entry was the quietest imaginable, of inspirational melody against low string plucking. The final Allegro ended suddenly on an orchestral cascade of scales executed brilliantly, horns defining the last chords.

Helen Roberts (viola) joined Michael Bochmann for Sinfonia Concertante in E flat for Violin & Viola K364 in an intelligently perceived reading, their complementary interaction making this a top class realisation, the addition of horns giving colour and vibrancy.

In Allegro maestoso the high pitched agility of Bochmann, and Roberts' more mellow responses, followed by a superbly executed cadenza, the soloists intertwined, then a brooding Andante, with a weighty orchestral introduction, was both sad and beautiful, as the soloists became linked in Mozart's divine melodies. This movement was intensely emotional, and accomplished elegantly. The Presto, in rollicking, joyful style, culminated emphatically.

The ESO's Mozartfest continues on Friday May 24, when compositions employing a solo flute will be included. Jill Hopkins