Francesco Piemontesi, an alert and sensitive soloist, brought a sense of class to this BBC Radio 3 live broadcast of Mozart’s Piano Concerto No27-his last-readily securing the delights and delicacies with an effortless assurance.

With an orchestra of about 25 players under Kirill Karabit’s the work’s florid, conversational character claimed persuasive definition and enough contrast to set the serene Larghetto up for elegant decoration and careful expression.

The finale’s lyrical theme is music to die for; borne on the wings of gentle rhythmic impetus, Piemontesi charmed this audience with his mellifluous performance. His encore was equally ravishing yet utilizing more of the Steinway’s power in Debussy’s La Cathedrale Engloutie.

Brucknerites will be rejoicing in Karabits’ commanding account of the Symphony No9, those less familiar must surely be impressed by its towering grandeur.

Early on the Wagner tubas’ hinted at the first of the gigantic crescendos to come, the work’s solemnity and mystery echoing the nature of Bruckner’s environs; each break in the flow colouring a variant vista, brass emerging from the clamour like shafts of sunlight.

In the Scherzo’s pizzicato episodes there is a sense of precipitation, the swirling avalanche of sound precedes the trio; streams of ice-melt tumble down.

And thence to the Adagio, the Wagner tubas intone Bruckner’s farewell. It is a place for memories to dwell with Karabits cogently exploring the depths, the heights; a harrowing woodwind call, crescendos of despair closing peacefully.

But this was not the intended culmination.

There is a scholarly and credible reconstruction of the fourth movement available. Yet what we did hear under Karabits was a marvel of musicianship.