If the Brighton Philharmonic Orchestra set out to please the widest range of traditional music lovers, they could hardly have done better with this programme: baroque treasure, the ultimate in style galant, an echo of French classicism and a nod to the New World.

But, nothing is quite what it seems. Ravel’s memorial Tombeau began as a piano suite, Copeland’s Appalachian Spring began as a ballet for Martha Graham and Copeland himself, once Kaplan, became American with gentle jazz rhythms stirred into his European musical heritage, training and influences, Ravel in particular.

News of the troubled orchestra’s continuing fight for survival was mollified by the comforting burbles of Vivaldi’s graceful bassoon concerto in the expert hands of Andrea de Flammineis and no member of the audience could possibly leave on a downbeat after Mozart Symphony No 29.

The magic of this early work with its wonderful opening motif was played with polish, skill and pleasure.