The latest batch of concerts in Igorfest, Birmingham's four-year Stravinsky feast, spotlights the 1920s, perhaps the most stylistically diverse decade in the composer's long career. After the double bill of hybrid masterpieces, Les Noces and Oedipus Rex, Sakari Oramo and the City of Birmingham Symphony Orchestra turned to two works whose affiliations are much clearer. The 1928 ballet Apollo is a wonderful, semi-abstract piece of theatre music for string orchestra, often regarded as one of Stravinsky's purest neoclassical creations. But Oramo found many other allusions in it, not just to the ballets of Tchaikovsky but even to cosy Edwardian tea dances, which are viewed with a typical Stravinskyan lack of sentimentality.

Where Apollo is all flowing lines and elegant contours, the Concerto For Piano and Wind, finished four years earlier, is full of sharp edges, abrupt juxtapositions and skewed perspectives. It's perhaps the nearest thing to cubism that Stravinsky produced, and Oramo and pianist Kirill Gerstein made no attempt to disguise its aggression or raucousness, making everything seem larger and louder than life, and presenting the central largo as a tongue-in-cheek pastiche of a 19th-century concerto slow movement.

A performance of the complete Petrushka (the thinned-down 1947 version of the score rather than the original 1911 ballet) brought the orchestra's wind and strings together again. Oramo was in his element, vividly energising the busy detail of the Shrovetide Fair, from the dancing bear to the hurdy-gurdy, and giving warmth to the folksy tunes Stravinsky later called his "Russian export style".

Straight after the 1920s pieces, what came across forcefully was how much of the later music was present in embryonic form in Petrushka; even the chameleon-like Stravinsky fundamentally did the same things.