Defining that remarkable spectacle of “organised chaos” Kirill Karabits conducted the BSO, with terrifying precision, through Stravinsky’s The Rite of Spring.

This is the ballet which raised a riot on its first performance, not just musically, for the choreography also took a beating. The composer recalled that on the curtain opening “a group of knock-kneed long-braided Lolitas jumping up and down, the storm broke”.

There is considerable orchestral finesse within certain scenes; notably Part Two and Karabits ensured that not a nuance of pagan poetry was overlooked. Yet in its wilder affirmations Stravinsky’s perspicacity for ritualistic orgy bears down with all the subtlety of a steam hammer, seldom does the bass drum receive such a thwacking.

Vadim Rudenko, soloist in Rachmaninov’s Piano Concerto No 2, set out to convey the elegiac expressions without overt gestures, rather letting the music speak for itself.

As the concerto unfolds the BSO’s rich-toned strings lent lush support to refulgent pianism. The central movement’s relaxed, lucidly lyrical decorations let eloquent beauty surround us. Streams of delicate fingerwork announced the finale, powerful episodes effortlessly plied with rapturous romantic expressiveness filling the finale.

Debussy’s Prelude a l’apres-midi d’un faune was superbly atmospheric in this Nationwide sponsored concert, to be broadcast on October 19.