Manchester Camerata blended neatly in this programme of Mozart and Bach, creating a sound that was never superficial. The initial movement of Mozart's charismatic Haffner Symphony was zestful, and the Andante warm and delicately balanced.

In the Presto, Douglas Boyd brought out the assertiveness in one of Mozart's most flamboyant and cheerful symphonic finales. The woodwind and brass lacked some of the transparency and textural sonority brought to this repertoire by period instruments, but this was more than compensated for by the sheer polish and quality of the performance.

It seems pedantic to refer to Bach's Concertos for Keyboard when everybody knows perfectly well that Bach intended them for harpsichord, but when pianist Angela Hewitt plays them so compellingly such historical niceties are rendered irrelevant. The lilting Siciliano was most successful, with Hewitt's contribution more exposed, as Manchester Camerata's strings quietly pulsed slender accompaniment.

Bach's Triple Concerto in A minor for flute, violin, and "keyboard", immediately conveyed a Bachian atmosphere. Yet there were problems: the solo violin and flute were swamped during the opening Allegro by the piano and relatively large orchestra. Hewitt's elaborate solos in the Adagio were captivating, although a transparent and unerringly precise cadenza in the concluding movement provided the best opportunity of the evening for her to shine without distractions.

After a grand introduction, Mozart's Symphony No 39 was given a tautly sprung and infectious performance, with Boyd avoiding the need to impose too much deliberation on the performance. His delaying of cadences in the Andante was a little overdone and became predictable, but did not diminish a lovely contribution from two clarinets, a flute and a bassoon.

In the bustling climax, Boyd made Mozart's hyperactive ending seem as if it were paradoxically scurrying in an easy-going way. If slightly short of perfect, the performance was certainly persuasive.