Philippe Quint will surely become better known when his good looks and playing are highlighted in a new film, in which he is cast as a Russian violin virtuoso come to New York. His strong relationship with the Bournemouth Symphony Orchestra was established five years ago when he received a Grammy nomination for his recording with them of William Schuman's Violin Concerto, and it held firm here in the third violin concerto by Saint-Saëns. The slightly coarse tone Quint projected in the violin's low-lying opening theme sounded alarm bells, but his capacity for passionately lyrical lines quickly became evident, and he embraced the more introverted melodic flow of the andantino with a touching tenderness. Yet the artist who launched into the finale seemed to take on a different persona, stamping a Gypsy flamboyance on proceedings and vividly evoking the style of Pablo Sarasate, to whom the concerto was dedicated.

As if there might still be some doubt as to his credentials, Quint gave an encore that showed his technique to perfection, in part of Paganini's variations on Nel Cor Più Non Mi Sento from Paisiello's La Molinara. Ironically, that encore was probably the high point of the concert. Conductor Nicolae Moldoveanu, replacing Kees Bakels at short notice, presided over performances of Dukas's The Sorcerer's Apprentice and Respighi's Fountains and Pines of Rome, in which the programmatic descriptions were observed faithfully enough. Moldoveanu's style is characterised by a manic energy, though quite what he achieves with it is not too clear. While he could not be expected to find symphonic profundity where there is none, there was certainly no great refinement to underpin Respighi's particular aural logic. There was, nevertheless, a strong element of crowd-pleasing spectacle, with the BSO musicians throwing themselves into the music - almost literally so in the case of their cymbal-player.