The programme notes promised us music from “Europe’s exotic east” and these talented young musicians delivered four exciting performances. Justyna Za?ko’s playing of Prokofiev’s first violin concerto was full of character: deliciously capturing the ethereal dreamy quality of the opening andantino – to which the work returns at the end – and the scurrying, bustling catch-me-if-you-can scherzo.

The odd moment of the finale’s rapid passage work was not as fluid as she would have wished, but the warmth and sensitivity of her playing in the concerto’s many lyrical moments more than compensated. The orchestra, under the avuncular eye of Michael Seal, gave excellent support, with some nifty woodwind playing.

They were really able to let rip in Ligeti’s Concerto Românesc, a colourful early (1951) work based on folksongs in the Bartok and Kodaly mould but with the dissonances ratcheted up a notch. The player revelled in the thunderous percussion and off-stage echoing horn effects and there was some lively show-stealing gipsy fiddling from the orchestra’s leader Shi Ling Chin.

Folk music was also the inspiration for the Turkish composer Erkin’s orchestral suite Köçekçe conducted by his fellow countryman Sedat Da?han Do?u. Whatever its Turkish origins the harmonies and sinuous woodwind lines sounded like Rimsky-Korsakov is his “exotic” Scheherazade mode, but was very enjoyable nonetheless with its stamping dance rhythms and canny use of a large percussion section.