COMPOSITIONS of a romantic nature were selected for this concert, directed by guest conductor Douglas Bostock.

Mozart's Symphony No.4 in G minor was a glorious realisation. Bostock put his baton away and, with the orchestra, achieved the best playing of the concert.

Flutters of strings, subtle brass and precise woodwind created an elegant first movement, Molto Allegro. Then, notably, strings descended in unison to quietude and peace. Bold defiance heralded in the Andante and horns throbbed gently as the movement tranformed into beautifully played orchestral eloquence. The Finale (Allegro assai) was presented robustly as strings bowed furiously, then delectable solo woodwind episodes, led by the clarinet, culminated in a punchy conclusion.

Pleasing inclusions by two French composers, Delibes Le Roi s'Amuse and Faure's Masques et Bergamasques, Opus 112, are suites of pieces composed as incidental music within plays.

Brass fanfares introduced Delibes Galliarde, melody and light orchestration prevailed as the ESO danced stylistically through, to the final Passpied with its gently beating timpani and a quiet end.

Lyrical phrasing was the over-riding feature of Faure's work. Woodwind combined with dancing strings, as the timpani intoned through the Overture. Flute and harp drew some exquisite moments playing in duet in the closing Pastorale.

Mendelssohn's Violin Con-certo in E minor, Opus.64, with Matthew Trusler as soloist, turned out to be a disappointment. Those wonderful melodies never became air-born in a rather pedestrian performance. Trusler achieved some satisfactory cadenza episodes, double stopping and high position delivery, but it was lacklustre overall.

The ESO's next concert is with Monica Huggett and includes Vivaldi's Four Seasons, on Friday, April 8, at 7.30pm.

Jill Hopkins