At home, the Mozarteum Orchester, serving the city and province of Salzburg, perform the whole of the repertoire; when touring in ambassadorial mode and at less than full strength, they play what is expected of them - Mozart and the classical Viennese school. But what ambassadors! Judging by the sheer vibrancy of this concert, their short British tour will have won them a legion of new fans.

Haydn's Symphony No 92, the Oxford - so named after the work was played in Haydn's honour when he was awarded a doctorate in music there in 1791 - shows the older master at his most witty and imaginative. While the Mozarteum's discipline underpinned its whole structure with an understated elegance, it was the lively thematic characterisation that gave the performance such authority. The adagio was utterly serene and the minuet's syncopated accents given just the right weight. Conductor Hubert Soudant's style was positively jaunty. Standing on the same level as his string players, with no podium, he almost danced the rhythms of the music, and the performance felt similarly fleet of foot.

Mozart's Symphony No 36, the Linz, balanced the Oxford. Soudant brought an even greater intensity to this, reflecting brilliantly the white heat of the composer's inspiration, fired by having to produce a work in just five days. Yet here again, it was the tenderness of the Mozarteum's singing tone that was deeply touching.

Isabelle Faust was the soloist in Mozart's Violin Concerto No 2 in D: she, too, sweet and true of tone, with immaculate articulation. To complement that charming, if slightly insubstantial, concerto and as further testimony to her manifest artistry, Faust also played Schubert's early concertante Rondo in A, D438. Its passage work was sparkling, occasionally leaving her accompanists breathless in pursuit but, like the Mozart, stabbing the heart with its incursions into the minor mode.