Andras Schiff's series of Schubert concerts with the Philharmonia, two before Easter, two in December, looks set to be one of the musical gems of 2007. The format is simple: Schiff conducts a Schubert symphony, then plays a Schubert solo piano work, then after the interval he conducts another Schubert symphony. Judging by the playing that Schiff eventually drew from the Philharmonia in this first concert, the series promises a rare quality of music-making.

That said, Schubert's first symphony, written for his school orchestra when he was 16, is mainly of interest because of what its composer later became. There is more musical impact in the single, grave C minor opening chord that opens the Fourth Symphony, with which Schiff ended the evening, than in the whole of Schubert's first, with which he began.

It takes a while to get used to Schiff's conducting style, and at first one sensed some of the players relying on the leader as well as the man with the baton. But there is rigorous method in Schiff's apparently easygoing podium manner, and by the time of the scurrying allegro finale of the Fourth, he had wrought a miracle and his 54-strong orchestra were playing as intoxicatingly as chamber musicians.

Or, to put it another way, Schiff had them playing like he himself does when he sits at the piano. There is no gentler opening in piano literature than that of Schubert's A major sonata D664, and with Schiff playing it on the bell-bright Bösendorfer grand that he favours for this composer, it ushered in a exceptional musical experience. Apparent simplicity conceals deep poignancy in each movement, and while Schiff forced nothing, he was also alive to the quirkiness of Schubert's pauses and phrasings. Schiff played as if he never wanted the music to end.