The much-admired BSO principal cellist Jesper Svedberg basked in the limelight-and in the thoroughly deserved rousing applause-for his performance as soloist in Saint-Saens’ Cello Concerto No1.

It is among the most cheerful of its kind and the fast pace of the outer movements were articulated with real panache.

The delights of Saint-Saens’ delicious melodies, introduced with great finesse by the orchestra, was superbly embellished with Svedberg’s affectionate artistry. And what wonderful tonal qualities and flair he also brought to the Bourrees from Bach’s Cello Suite No.3 as encore.

On the podium David Hill’s dynamism thrust Elgar’s Symphony No.1 into the 21st century-without undue sentimentality-yet fully respectful of its emblematical Edwardian era.

The restless first movement was driven with scorching passion; the second’s scampering strings and boisterous march were seductively reduced for the magical transition to the richly sonorous Adagio.

Ultimately the majestic tune sweeps through in ghostly frame, Hill ever mindful of its inherent beauty. The finale creeps in, releasing in turn, glorious melodies that end in emphatic triumph- a fabulous performance from the BSO.

Enter Spring, a lush and colourful tone poem by Bridge that is scored for a large orchestra.

The impact of the dynamics (the lion and the lamb?!) would suggest a pretty stormy season ahead. Hill made the best of the contrasting andante tranquillo and the rousing, joyful conclusion.