Jeremy Menuhin directed the ESO from the piano in two of Mozart's piano concertos.

First, No.6 in B flat lightly scored for strings with the addition of two flutes. The Allegro, a tripping tuneful movement, and similarly Rondeau - Allegro, suffered from the pianist's lack of definition and too many fluffed notes. The orchestra seemed ill at ease. Uncertainty and lack of expression pointed towards insufficient rehearsal.

Concerto No.21 in C produced a better delivery. After a long orchestral opening reinforced by horns and timpani, the pianist expounded with greater clarity, and a pianissimo entry by violins was finely achieved. The lovely Andante blended pizzicato strings with the melodic pianist and other sections. In both works many phrase ends were destroyed as Menuhin frequently got up to direct.

After the interval, was Beethoven's Third Symphony 'The Eroica', with William Boughton conducting and the ESO, sounding a completely different band of musicians, pulled off an expressive, stirring performance.

An attacking start gave way to sensitive utterances of the prevalent theme by woodwind, brass then cellos.

The Scherzo was one of perpetual movement containing within it a magnificent trio of horns and the glorious Finale was punctilious in observing rests and detached notes as the full orchestra reached a brilliant climax.

JILL HOPKINS