Berg's Chamber Concerto is considered something of a poor relation to his Violin Concerto. Intended as a 50th birthday tribute to his teacher Schoenberg, it is one of Berg's most impenetrable works, full of numerological significances, obscure musical letter codes and allusions to music by Schoenberg, Berg himself and also Webern, the third member of the second Viennese triumvirate.

Yet for all the Schoenbergian complexity of its densely woven counterpoint, the Chamber Concerto is unmistakeably Berg, written in his individual post-Romantic idiom with a strong sense of nostalgia, a facet emphasised by conductor Thierry Fischer, pianist Denes Varjon, violinist Alexander Janiczek and the Scottish Chamber Orchestra's wind and brass players.

One of the peculiarities of the piece is that the soloists don't play together until the last of the three movements, a feature that underlines the different characters of the first two; Varjon expansive in the first, Janiczek pensively lyrical in the second. In the dancing third movement, the ensemble held together the intricacies of rhythm remarkably well.

As if to reinforce the strong sense of tradition with which Berg's work is imbued, the second half of the programme was a work of the earlier Viennese school, the 19-year-old Schubert's Fourth Symphony. In hindsight, the composer labelled the work "Tragic", and there was more than a touch of operatic pathos and drama in Fischer's performance - particularly in a finale that brought to mind Mozart's overture to Don Giovanni, driven and decisive with plenty of surprising twists and turns on the way.