It seems to go without saying that a virtuosic concerto coupled with a dynamic conductor and two thoroughly Romantic symphonies will draw in the crowds with ease. This is why, with the new Scottish Chamber Orchestra season programme still fresh in our minds, a considerable Queen’s Hall audience await those opening chords with anticipation.

This evening’s opener is Louis Spohr’s second symphony, a work which doesn’t grace the concert hall with its presence all that often. Tonight’s performance is successful in, among other things, proving to us that lack of such repertoire as standard is a great shame. The piece itself brings to mind the works of many great composers, while also presenting the contrasts and deep harmonies of the very best Romantic music. From the beginning, the strings are fabulously unified , as well as a coherent whole, and the winds show outstanding balance consistently. British-born conductor Nicholas McGegan is animated and effortless; a joy to watch.

Following this, McGegan is joined on stage by another dynamic and engaging performer, SCO principle clarinet Max Martin. Weber’s second clarinet concerto is an ideal platform to showcase outstanding talent which Martin relishes without fail. It is surprisingly rare to see a performer who is as consistently engaging as Martin. A whole other connection with the music is apparent. His fantastic tone is present through all registers and all dynamics; his connection with the rest of the orchestra is effortless as the strings build up to solo entries and the wind colourfully interject throughout the melodic line.

The second half of the concert brings Mendelssohn’s first symphony. For a work written when the composer was just fifteen, it's beautifully reminiscent of Beethoven and perhaps could be answered by Beethoven's ninth symphony, written a year later. The symphony once again presents the talents of separate sections as string pizzicato is so amazingly united that one could mistake it for only two or three instruments. The wind once again give vibrant solo lines in parts and work remarkably well as a whole in other passages. McGegan’s energy never subsides, leaving an uplifted audience awaiting the rest of this promising season.