Brahms: Tragic Overture. Delius: On Hearing the First Cuckoo in Spring. Elgar: Three Bavarian Dances. Tchaikovsky: Symphony # 4. Conducted by Hitoshi Suzuki.

In their fiftieth anniversary year, the MSO's Saturday concert opened with a dramatic overture from Brahms, moved to the lighter, poetic piece from Delius – with its distinctive cuckoo call - and then to a thigh-slapping journey to Bavaria courtesy of Elgar's dances. The shorter works highlighted various sections of the orchestra from piece to piece, until they came together masterfully for an electrifying performance of the Tchaikovsky Symphony to round off the programme.

The Brahms work has no apparent "story", but opens with two impressive chords then taking the listener through its moods. After a determined beginning, it becomes more sombre, and eventually more romantic. The MSO took a moment to warm to it, but as the piece unfolded – strings becoming brighter with the increasing energy of the work, woodwinds achieving precision and feeling in equal measure - the drama and darkness of the music took shape.

The tender playing of the poetic Delius piece was more assured from the outset, perhaps because of the beauty of the music. Immersed in its haunting folk-song tune and rich harmonies, the audience heard some exquisite playing from various instruments as they came to the fore – the oboe, the clarinet, the strings – each taking turns voicing the cuckoo's song. The excellent woodwinds cast their spell as they always seem to do, but the ensemble showed how much they have grown under the leadership of Hitoshi Suzuki, and left the audience in a dream by the piece's end.

Humour and vigour issued from the conductor's baton as he spun us off to Bavaria with Elgar as host. The three dances were a choral work, but translate well for the orchestra. The first foot-tapping tune evoked Bavarian country life: pairs of young dancers in dirndl and lederhosen slid artfully through the folk-dance's "landler" rhythm. The second, a lullaby, was wistful with the horns playing us tenderly into melancholy. The last dance was a blaze of orchestral colour, with the strings in particular really singing vibrantly.

After an interval, a fine evening of music peaked with the challenging 4th Symphony of Tchaikovsky. This is said to be the composer's expression of his own tussle with Fate. In wonderful passages of melody and emotion the MSO really gave their all, without lapsing into bombast or heaviness. The opening movement was stirring with its brass fanfares, the cellos and double basses sombre and silky by turns. The second movement melodies came alive with some very refined playing; and the third movement's astonishing pizzicato brilliance was delivered flawlessly. The final movement was a colourful blend of flair and passion, the timpani and the delicate triangle almost stealing the show.

In fact, though, the whole orchestra gifted the audience – many of whom jumped from their seats to express their approval - with the best playing I have heard from them. They were both dazzling and elegant.

And how, one wonders, might July's Summer Concert possibly top it?

Deborah Losey