The initial impact of James MacMillan's The Confessions of Isobel Gowdie in 1990 owed much to the uniqueness of his sound at the time. Inevitably, that aspect has faded, but the rawness that made it so hard-hitting - juxtapositions of violence and striving for absolution - has retained its power. Whether you hear its starkness as moving or gauche, its sense of conviction is startling: long searing chords are sustained with the same tenacity that underpins violent repetitive hammer-blows, and its hyper-expressive use of string glissandi is unashamedly emotive. With MacMillan himself conducting, the BBC Philharmonic's performance had an ideal balance of toughness and intensity.

Tchaikovsky's Second Piano Concerto has all the familiar gestures of its predecessor: galumphing octave descents and high-octane orchestral tuttis. Although the memorable sweeping themes of the first concerto are absent, the second does have its own magic. In the slow movement, Tchaikovsky drew closer to Brahms's gently understated lyricism than he ever did before or after, and its interweaving of violin, cello and piano solos was lovingly cradled in Gianandrea Noseda's warmly phrased orchestral responses. The young Swedish pianist Peter Jablonski is an eloquent ambassador for Tchaikovsky's neglected piano concerti, with playing of honed delicacy impressively balanced by power and depth of tone.

The vivid characterisation of Noseda's reading of Stravinsky's Petrushka was so striking that inflections and colours sprang to attention: the Magican's flute solo, hurdy-gurdy tunes and Petrushka's improvisatory music - raging and doleful by turns - were especially beautifully done.