The Philomusica’s epic journey through Beethoven’s great orchestral masterpieces continued at the Sheldonian with the first and fourth symphonies and the Piano Concerto No.4. For the orchestra’s founder and musical director, Marios Papadopoulos, this is something of an emotionaal trip down memory lane, because it was Beethoven that helped put the Philomusica on Oxford’s cultural map when it sprang into life ten years ago. It has never faded from that map; on the contrary, it has continued to stake its place with ever-growing conviction.

The piano concerto, which Beethoven wrote when deafness was creeping relentlessly upon him, saw the composer breaking new ground by allowing the soloist the first word, as opposed to the usual full orchestral introduction. Papadopoulos, conducting from the piano, was in commanding mood, introducing the main theme with quiet but determined eloquence before leading the orchestra into a performance imbued with energy and purpose, and moved briskly to a stirring finale. This was, as always with Papadopoulos, an intelligent and insightful interpretation, which resulted in an impassioned and memorable performance.

There was a similar energy pervading the Symphony No.1 in C, with the exhilarating passages of the first movement contrasting in fine style with the reflectiveness, lyricism and jauntiness of the others. Once again, Papadopoulos ensured a suitably thrilling ending, the final allegro molto e vivace seemingly erupting in a whirl of energy.

It is a wonder the orchestra had anything left to give after the interval, both physically and emotionally, but they had plenty in reserve for what is surely the most dramatic of Beethoven’s symphonies – the Symphony No. 5 in C Minor. From that famous opening motif, it was clear that this was to be a performance of great drama and intensity, which was well sustained right through to its stunning finale. For the audience, it was both exhausting and exhilarating; a fitting end to an exceptional evening.

Nicola Lisle