Vaughan Williams’ Fantasia on a Theme by Thomas Tallis may have seemed a strange bedfellow to start a programme followed by Tchaikovsky’s Violin Concerto and Rimsky-Korsakov’s Scheherazade. However, VW’s combination of large and small string orchestras with a string quartet harks back to the 18th century concerto grosso, while Rimsky’s pre-cinematic orchestration of tales from the 1001 Nights can readily be heard as a concerto for orchestra – both works offering a canny framework for Tchaikovsky’s full-blown romantic concerto .

The distinctive spatial sonorities of the two string orchestras in the VW shone from trenchant bass to ethereal treble, beautifully distanced and contrasted to generate evocative tonal balance and space with the string quartet throughout – no cathedral or lark required for this journey from earth to sky.

In the Tchaikovsky concerto, soloist Simone Lamsma delivered both fiery virtuosity and heart-stopping sensitivity. Adrenalin-rush coursed throughout, with the orchestra sticking with her like glue in contemplative mood as well as the rollercoaster-ride interplay in the outer movements. Even more jaw-dropping technical prowess followed with an encore of the last movement from Ysaye’s Sonata No.2 for solo violin.

In recent times Rimsky’s Scheherazade seems to have fallen out of favour, with performances something of a rarity.  So it was wonderful to hear the work vindicated in such a charismatic and engaging performance. It may now be tagged as an out-of-fashion piece of kitsch, but as a Symphonic Suite it surely remains a masterpiece in content, development and orchestration.

It was certainly done more than proud in this comprehensively articulate and exciting performance. Solo opportunities for principals from every section to shine were taken with aplomb with all the range and colour of the tales drawn to the full. Too many individual principals to credit, but leader Amyn Merchant as Scheherazade provided the thread of narrative continuity and allure throughout.

Special credit too for the brilliant Italian conductor Valentina Peleggi. Her stick technique and expressive body language prompted an ultra-compelling virtuoso response from the BSO. The fires of passion were stoked to appropriately high levels of heat and intensity throughout the entire concert.

Critic Ian Julier

If you missed the concert you can catch up on our Digital Concert until 15 February here