This concert could have been a big disappointment. It was originally planned as a test run for internationally renowned cellist Natalie Clein, who wished to learn Prokofiev’s Sinfonia Concertante – a work described as: “a summit of the solo cello repertoire, an unbelievably long, complicated, and difficult piece” by OSO conductor Robert Max in an Oxford Times interview last year. In the event, Clein was unwell, and her place was taken by young Bulgarian cellist Michael Petrov.

Disappointment vanished. Petrov has taken masterclasses from Mstislav Rostropovich, who gave the premiere performance of the Sinfonia Concertante. Seeming both to identify completely with the music, and to make light of every technical challenge, it was soon apparent that Petrov has delved deeply beneath the skin of this troubled work – Prokofiev was in very poor health at the time he composed it, as well as encountering inevitable problems with the Soviet authorities.

The music switches from audio fireworks, to poignant melody, to a perky waltz: all were tellingly drawn from Petrov’s cello. It seemed entirely fitting that afterwards he was presented with the prestigious Suggia Gift prize, won in the past by the likes of Jacqueline du Pré and Steven Isserlis. As for the OSO’s accompaniment, I do not mean to be patronising when I say it was worthy of a really committed, professional orchestra: no doubt it helped that conductor Max is himself an accomplished cellist, but this was a very impressive performance.

Robert Max’s ability to draw the best from his players, his well-judged tempi, and his appreciation of broad sweeps in musical architecture were again evident in Tchaikovsky’s Manfred symphony. Described by its composer as “vast, serious, difficult”, and telling the story of Manfred’s shattered life, it was perhaps a little too like the Prokofiev in mood to succeed ideally. Max conducted a tough, raw, performance, full of tension and expressive string playing.