Elgar and Delius are two geniuses who only ever composed themselves - the first drawing heavily on psychology and physiognomy, the second drenching his country visions in painful nostalgia. So it made good sense to have man and nature side by side in Sir Andrew Davis's latest enterprising concert. Oh, and there was a commission from the Royal Philharmonic Society's Elgar Bursary too, though this was only "new" music by the old guard. I suspect that the BBC Symphony players could have done without Edwin Roxburgh's Concerto for Orchestra in a heavy programme, resplendently though they tackled it, and so could I.

It is difficult for modern audiences to appreciate just how shocking Henrik Ibsen’s Ghosts was when it was first published in 1881. Its sexual and syphilitic storyline - how the sins of the fathers are visited upon their sons - was considered immoral, loathsome even, and audiences must have felt deeply uncomfortable watching their Victorian, Christian hypocrisies laid bare. So how to make Ghosts relevant to today’s theatregoers?

We watch and listen simultaneously so much today that it hardly seems blasphemous for a superlative pianist to decide to conceive an evening of piano music plus video installation. Leif Ove Andsnes has doubts about the transmittability of classical music to a general audience today - he calls the status quo into question, and he may be right. So he turned a concert programme into a video show, focusing on Musorgky’s Pictures at an Exhibition and Schumann’s Kinderszenen, to which would be set a visual installation around him and his piano.