In his relaxed pre-concert talk, conductor Benjamin Ellin promised an emotionally intense evening which was certainly delivered in an inspired programme, writes David Heathcote.

Stokowski’s arrangement of the famous Bach Toccata and Fugue in D Minor was not a successful opening performance.

The woodwind in particular were challenged by the piece. However, it was the arrangement itself that lacked the vibrancy of Bach’s original organ music.

This is surprising considering Stokowski’s intention to create the sounds he imagined of Bach if he had today’s instruments available to him.

Ravel’s Daphnis and Chloe Suites 1 & 2 showed the orchestra and soloists at their best.

The Nocturne in Suite 1 had a magical quality – particularly the strings in the 6/8 section – and the expressive Interlude led to the exciting war dance in which the trumpets shone.

In the second suite the depiction of daybreak was glorious, with the higher woodwind playing brilliantly above the majestic cellos and basses.

Clr David Ridgway reminded the pre-concert audience that Vaughan Williams allegedly wrote The Lark Ascending at Crow Hill, Marsden Moor.

SPO’s Leader, Michele Northam, gave a sensitive performance of this technically demanding piece, with some impressive high notes on the violin.

Vaughan Williams’ Symphony No 6 has a dark and chaotic mood, which is demanding both for the orchestra and the audience.

The orchestra mastered each ‘movement’ and the scherzo was most impressive in which the maniacal rhythms and harmonic clashes suggest RVW’s mood at the time.

Maintaining the intensity from the scherzo into the epilogue showed what a fine orchestra the Philharmonic is.