Composer Mark David Boden can count himself privileged to have heard one of his works played again in public within 24 hours of its world premiere.

In fact, it was a repeat performance of his Chaconne for the four nights of Sinfonia Cymru’s latest short tour of Wales, the Riverfront taking the second call.

The work is a re-structured borrowing from a famous piece of the same name attributed (but less certainly these days) to Tommaso Vitali, an Italian contemporary of J S Bach.

Boden, who lectures at the Royal Welsh College of Music and Drama, demonstrates as secure a command of string textures by division of labour as he does maintaining the original as an anchorage and linking reflective and agitated moods.

The effect, as in Stravinsky’s Dumbarton Oaks concerto, itself a re-invention of a Baroque form, was of locating the past through an uncompromisingly modern viewfinder.

The concert was put together on this occasion by the musicians themselves, indicating in the Boden and Stravinsky works just how willing they are to expose themselves to sparse and astringent writing as well as presenting a more solid united front in Beethoven’s Fourth Symphony and the complete score of Ravel’s Mother Goose ballet music.

The Beethoven and Ravel works represented the chamber proportions of the orchestra at the tipping point where it peers at works requiring more numbers than it can reasonably muster.

Conductor Gareth Jones nonetheless fashioned a symphony of all-embracing scope and a ballet score of colours lovingly painted. Building with Beethoven and revelling in Ravel, as it were.