THE Grand Tour was not just the prerogative of wealthy Brits; reciprocal travelogues were undertaken by many great composers, instanced with Mendelssohn who was very pally with Queen Vic and Prince Albert. And Dvorak came to these shores no less than nine times.

Classic FM’s Jamie Crick’s effusive and entertaining introductions also noted that Grieg’s initial idea of a tour directed him to Denmark, though he eventually spent much time in this country.

However the distinctive mark of all these composers was their love of melody and, in Grieg’s Piano Concerto, pianist Joseph Moog’s refined articulation powered the opening chords with tremendous precision, also penetrating the work’s many subtleties. Beauty of line in the Adagio maintained the high quality of performance with the vigorous finale-based upon the halling, a Norwegian dance rhythm-had Nicholas Collon’s players providing robust accompaniment either side of the lovely central section.

Dvorak manages to pack in more tunes than you can wave a stick at; though happily Collon obliged most effectively here in the Sixth Symphony. The critically paced first movement was allowed organic growth, blossoming with imposing gestures and increasing stature. The woodwinds presented a wonderful melody in the Adagio with great sensitivity and the Scherzo’s Furiant-style rhythms were superbly accounted with a further magical woodwind interlude. For the finale Collon effortlessly swung from pulse to pulse with an exhilarating dash to the line.

A smoothly graduated trip to Fingal’s Cave in Mendelssohn’s evocative Hebrides Overture negotiated the rougher tides and brought us to port with just a taste of salt.