Just a few days after presenting a demanding concert involving no fewer than three world premieres and the taxing Britten Nocturne, the Orchestra Of The Swan concluded its current Birmingham season with a wonderful bread-and-butter programme, equally as searching, but proof indeed of the orchestra's versatility under its artistic director David Curtis.
And proof, too, of Curtis' ability to seek out such wonderful artists-in-association, one of whom, Tamsin Waley-Cohen, delivered an enthralling reading of Beethoven's Violin Concerto, the world's greatest, and so searching in its demands both intellectual and technical.
Hers was a thoughtful, unflashy interpretation, always respecting this masterpiece and putting her quietly brilliant technique at its service.
The sound of her enviable 1721 Stradivarius violin filled an enthralled Town Hall even in the quietest passages, and there were so many lovely inflections shaped between her and Curtis' orchestra.
Under Curtis' baton OOTS provided a careful, assiduous accompaniment, with noble horns, minatory trumpets and timpani (what a magisterial opening Tim Farmer tapped out!), and warmly-blended woodwind.
And the strings had come earlier into their own with a wonderfully cushioning backcloth to the reflective incidents of Wagner's cosily intimate Siegfried Idyll.
But unfortunately this account lacked engagement; it was smoothly lightweight, with not enough tension to make the ending a haven of repose.
Similarly disappointing was the opening movement of Mozart's adrenaline-rich Linz Symphony, heavy-footed here when it should have fizzed.
But subsequent movements served this fabulous music much better, with heavily-perfumed evening warmth in the slow movement, a buoyant minuet and glorious trio, and an exhilarating finale.
And for once I welcomed the inclusion of all repeats, both for academic reasons and for sheer pleasure.