Elgar's arrangement of Bach's Organ Fantasy & Fugue in C Minor is an extensive orchestral reworking, yet the BBC Philharmonic and guest conductor Vassily Sinaisky presented a convincing case for it to be considered a substantial and rewarding piece of music in its own right. The restrained Fantasy was elegant and cool, although Sinaisky created compelling tension through its unfurling string suspensions. There was more for the brass and percussion in the Fugue, and at times the impact was that of stampeding elephants rather than anything Bach could have envisaged.

Britten's Piano Concerto was not received with universal enthusiasm after its premiere in 1938; some critics said his cleverness had eclipsed his good taste. Pianist John Lill provided plenty of evidence to contradict this. Toccata shimmered in a dance-like fashion, and in its cadenza Lill amply demonstrated the masterful contrast between speedy brilliance and gentle atmospheres that Britten's music demands, and the BBC Philharmonic provided enchanting and erudite support. The Waltz was macabre yet tasteful, but the highlight was the sentimental Impromptu. This was an alternative third movement that Britten inserted nearly a decade later, and the playing was transcendent.

Elgar's Symphony No 1 opened in a reserved Edwardian manner that grew more passionate, with Sinaisky clearly luxuriating in its gorgeous theme, and each section of the orchestra excellent. The second movement's transition into the sublime slow movement was breathtaking, and in the last movement each juxtaposed episodic strand was immaculate. Sinaisky inexorably led the BBC Philharmonic towards an emphatically triumphant climax, producing a performance that renewed marvel for Elgar's great achievement.