Early in this year's Proms series, Kurt Masur celebrated his 80th birthday by massing forces from the London Philharmonic Orchestra with those of the Orchestre National de France for a performance of Bruckner's Seventh Symphony. Bringing the same symphony to the larger venues on the French orchestra's British tour further underlined its place in Masur's heart, and seeing this octogenarian conduct the huge score from memory symbolised once more the centrality of the German Romantic repertoire in Masur's career.

Masur has been the ONF's music director since 2002, so the players understand implicitly his by-now rather idiosyncratic conducting style: full of quivering energy and flailing arms, with an imperious left index finger for extra punctuation. As a channel for communicating finer points to the audience, it leaves something to be desired, but the intrinsic Masur discipline is still used to powerful effect. Masur also retains a sure sense of the way Bruckner's steady crescendos build their impact. The ONF were efficient without ever hitting the form that might place them higher in the European league. From the opening cello melody, the strings realised a warmly cohesive sound, and the resonance of their brass section - complete with lugubrious Wagner tubas - was often impressive. But Masur imposed measured tempi that could seem pedestrian, so that Bruckner's more lyrical passages were not able to take flight.

There was a similarly earth-bound quality to Mozart's Piano Concerto in A, K488, which preceded the symphony. Soloist Louis Lortie is a fluent Mozartean, and his dialogues with the woodwind were carefully shaped, but it was really only in the lacerating moments of the central Adagio that his playing touched the core.

· At Leeds Town Hall tonight. Box office: 0113-224 3801.