The Oxford Philomusica’s glorious Beethoven fest at the Sheldonian last Saturday was a triumph, both for its programming and the robust, powerful delivery from an orchestra that rarely puts a foot wrong.

The programme recreated the one Beethoven presented to Prince Franz Joseph von Lobkowitz, in March 1807; poignantly, it was to be the last time that the ageing and increasing deaf composer premiered any of his own works.

First up was the Coriolan Overture, written for Heinrich von Collin’s play Coriolan, which follows the fortunes of the eponymous hero as he prepares to invade Rome.

Conductor Marios Papadopoulos was in fine fettle, ensuring that the agitated nature of the piece, with its sense of impending doom, was fully realised, and the orchestra responded with a passionate and vigorous delivery.

The quiet opening of the Piano Concerto No.4 was a complete contrast, with soloist Steven Kovacevich (pictured) softly stating the opening theme, to be repeated by the orchestra before the piece burst into vigorous life. His empathy with Beethoven’s shifting moods was obvious in his keen observance of the composer’s dynamic range, melodic and rhythmic variations and exquisitely-crafted phrases, all delivered with immense artistry and precision, from the tenderness and lyricism of the middle movement, to the sprightlier moments in the outer movements, bringing the piece to a magnificent close in the final rondo.

The second half was given over to Beethoven’s dramatic and at times hectic fourth symphony, with the orchestra fully exploring its feeling of constant hustle and bustle. The adagio offers some quieter moments, though, and there was some sublime playing from the strings, and wonderful lightness of touch from the wind section. But mostly this is a extraordinarily busy symphony, delivered here at a cracking pace and with a keen sense of purpose. For details of future concerts, visit www.oxford.phil.com