The first Brighton Philharmonic Concert for the New Year demonstrated Brahms in early, passionate intensity and Beethoven in late quixotic gaiety with a concerto which began as a symphony and a symphony which Wagner believed was a dance.

Both Brahms’ First Piano Concerto and Beethoven’s Seventh Symphony were written against personal backgrounds of acute distress; both testify to the uplifting and enduring genius of their creators.

Martin Roscoe played Brahms with an assured sensitivity which belied the technical skill involved. Although Brahms’ symphonic style minimises virtuoso display, the music is very difficult indeed.

His calm maturity was in contrast to the flamboyant young conductor Andrew Gourlay but the combination helped draw rich layers and sound textures from the orchestra.

Gourlay’s balletic bounce was in total harmony with Beethoven’s Seventh which he took as fast as I can remember hearing it. Quicker tempi in the Funeral March lent shape to the melody and spring to the rhythm: the final Allegro was con very brio, brilliantly played.

Brahms felt Beethoven’s ghost whenever he picked up a pen: to hear sublime examples of both together would have been impossible for them - but a gift to a Brighton audience.