Mark Elder's passion for Elgar was evident in a performance of Sospiri, a fleeting gorgeous musical moment that the Hallé revealed in enigmatic and almost painfully nostalgic tones. The sensitive harp arpeggios supporting a soaring string melody, developed by pronounced suspensions, seems to have been Elgar's response to the Adagietto in Mahler's Symphony No 5. It is a fabulous piece, and it beggars belief that this miniature masterpiece is not yet core repertoire.

Dvorak's Symphony No 8 reflects an idyllic period of the composer's life, so it was apt that Elder and the Hallé produced a performance teeming with ideas, expressed with radiance. The Adagio captured the atmosphere of a simple pastoral world that Dvorak evidently loved, and Elder's eloquent delivery of the music made one mourn the loss of such an uncomplicated way of life.

The Hallé communicated compelling sentiments in both exuberant and gentle moods. This was especially evident in the finale, when soft lyricism and blazing eruptions were juxtaposed without seeming contrived.

Quite apart from the sheer quality of the Hallé's sound, the key ingredient to the success of this performance was Elder's ability to keep his finger on the emotional pulse.

In Brahms's Piano Concerto No 2 in B flat, Peter Donohoe gave a powerhouse display. Even the most gargantuan solo passages were delivered like speeches. But the star was cellist Sally Pendlebury, whose contribution to the rapturous Andante created an atmosphere of extraordinary beauty. After that, the flashy finale seemed hollow and perfunctory.