Designed with Dream Melodies in mind, this concert under the direction of Kirill Karabits extolled those virtues in Mozart and Mendelssohn.

However, when it came to Schumann’s Cello Concerto soloist Peter Wispelwey was in no mood to uphold that perception; at least not in the first movement.

Whilst the quieter sections were nicely balanced, Wispelwey’s aggressive attack juxtaposed with Karabits’ powerfully supportive orchestral display highlighted an interpretation of emotional acerbity at the expense of poetical probity.

True, the slow movement evidenced Wispelwey’s capability for dreamy romance, but he seems at his best when there’s a demand for technical brilliance.

The finale was unquenchably exciting, drawing much flamboyant and emotionally taut virtuosity from Schumann’s underrated concerto.

Mozart’s Symphony No40 embraces graceful, lilting melody set against bolder affirmations in a punchy first movement.

That gracefulness continues in the Andante with delightful wind embellishments touched with a darker side in the pervading motif.

Karabits’ treatment of the Menuetto aligned its heavier outer sections against the lighter trio. Much like a heated conversation the finale’s exchanges were authoritatively driven with an occasional nod towards unified reason.

For the best of melody Mendelssohn is tops. The fairy filigree in the Overture to A Midsummer Night’s Dream was exquisitely played under Karabits, with the more vigorous aspects vibrantly evoked.

The Deliciously fleet Scherzo, a Nocturne suffused with beautiful horn playing from Jeff Bryant, a feverishly searching Intermezzo and the glorious Wedding March were the icing on this richly rewarding three-tiered cake.