Mahler Six. Where to begin… Surely one of the Austrian master’s grandest creations, it can feel unrelenting at times – certainly within its outer movements and scherzo – yet listen closely and it’s full of signs of an experimental brain at work in terms of structural dynamics, and its use of tuned percussion and celesta is unique in Mahler’s output. Asher Fisch is a bold Mahlerian, as thoughtful and restless on the podium as Mahler himself must have been. But more of that later.

Mahler Six is such a meaty dish it can often be served solus, and you might think it a brave musician who would hope that, after such a behemoth, her Mozart would be remembered at evening’s end. No problem however for Japanese-American violinist Karen Gomyo who, thanks to some superlatively senstive orchestral accompaniment, delivered an exceptionally charming and detailed performance of the Third Violin Concerto.

Fisch’s approach to Mozart is all about balance, elegance and upswing – the way he makes it sparkle and dance. Forming a visible and clearly supportive lynchpin between soloist and orchestra, his attention to dynamics and support allowed Gomyo to execute some ravishingly daring piano passages without ever sinking beneath the orchestral...