I was unsure about going to this after the Bruckner, but I am so glad I did!

Purists will be interested to note that some of the strings used baroque bows in the Haydn, whilst the majority stuck to Tourte bows.  All but one lone first violin went on to Tourte bows for the Beethoven.  The flutes were wooden throughout.  And Pierre-Laurent Aimard played on a modern Steinway.

But purists schmurists!  It didn't matter.

The Haydn was so springy, as was the orchestral Beethoven.  Aimard was like trickles of water in the Concerto runs -clear and lively.  And he was absolutely astounding in the Ligeti.  My jaw dropped when he did crossed hands with the left, upper hand playing forte and the lower, right hand pianissimo.  How can anyone do that?

And as for not getting his fingers tied up in the sorcerer's apprentice....

But the best thing for me was the enjoyment and communication of the orchestra members.  I think it was Yannick Dondelinger, a very good player, on the 2nd desk of violas, and he kept leaning over and playing to the cellos and having a laugh with them.0 lots of that bonhomie was evident throughout, as well as the visual movement of players adding to the dynamism.

Brilliant!

Tommo