Designated Northern Legends this programme called for an appreciation of the cerebral rather more than usual.

The knell of tubular bells opens Glasgow born Oliver Knussen’s Violin Concerto with soloist Clio Gould entering on a high harmonic E. That is also how the piece ends; in the composer’s analogy a ‘tightrope walker progressing along a high wire strung across the (music’s) span’. Gould’s assured bravura playing never wavered, fully accustomed to the percussion department’s dominant and formidable effects in the outer movements. The central meditative Aria, set mainly against serenely smooth strings also attained the high E to close.

Under conductor Rory Macdonald Sibelius’ Symphony No7 coursed an enlightened path through the well signposted landscape of the composer’s musical legacy. Madonald’s empathy was self-evident, negotiating the light and shade, the ebb and flow of the rhythmic impetus and ensuring the melodic motifs were fully savoured.

Earlier Macdonald’s eager approach to the rostrum meant he arrived first and, disconcertingly, noted the absence of leader Simon Blandis who quickly followed on, mirthfully taking a joint bow.

The Divertimento taken from Stravinsky’s ballet The Fairy’s Kiss is full of Tchaikovsky’s charming melodies turned through composer’s own myriad orchestral reworking.

In pensive mood, the low orchestral sonorities of Sibelius’ Pohjola’s Daughter emerged as a stunning score, Macdonald drawing brilliant playing from the BSO.