INTUITIVE musicianship from pianist Sunwook Kim in Chopin’s Piano Concerto No.2 filled every bar with an extraordinary sense of lyricism.

If the first movement spoke of earthly beauty, then the Larghetto was surely heaven-sent; angelic in phrase and feeling and conveyed with the most sensitive and sensuous fingerwork.

Even the final Allegro’s mazurka was touched with an uncommon poetic aura and all under the sympathetic accompaniment of Kirill Karabits.

Brahms’ Symphony No.4 emerged from the antiphonally placed first and second violins with classically versed dynamism in Karabits assured account.

The slow movement was pitched with an innate grasp of its crucial contribution to the overall structure with exquisite playing from the BSO.

As in the opening movement the Scherzo’s stream of energy was embedded with an agreeable mixture of lucid exuberance and captivating resolve.

Although the ending is almost perfunctory, the integrity of the finale’s variation form is a model of richly upholstered textures and here, fresh, unforced power.

For invigorating dash Dvorak’s Carnival Overture makes a real splash of colour, yet there is a wonderful cogency to the quieter episodes, not least the lyrical andantino.

Karabits had those infectious rhythms tightly controlled yet always with his characteristic flair for effervescent and homogenous ensemble.