Few could criticise a violinist for treating Mozart at his most dashing with the same fervour he reserves for a composer who invites no other form of address.

The Violin Concerto No 5 in A (K 219) has some points of contact with the Introduction and Rondo Capriccioso of Saint-Saens, perhaps one reason why they were paired for champion fiddler Jiafeng Chen.

The young Chinese, winner of the Wieniawski competition and with high placings in others, set about both with barely-restrained passion, aided and abetted by Sinfonia Cymru at its most effervescent under founder-conductor Gareth Jones.

Mozart the romantic is there at the start in the adagio with which the violin precedes the theme. The first three notes of that indicate the subject of the allegro, its undulating accompaniment reminiscent of Agnes’s Softly sighs aria from Weber’s Der Freischutz, as romantically intense as they come.

In the Saint-Saens work, both soloist and orchestra kept returning to the opening with undiminished purpose which in a rondo is as it should be, the soloist in particular maintaining the dexterity and warmth of tone he showed elsewhere.

The orchestra fielded just about the right numbers for Mozart’s original woodwind scoring and spaciousness not to seem hard-won in the Symphony No 39 in E Flat, making their presence felt amid playing of richness, zest and abandon.

Even fewer musicians, but including a pianist, were required for the chamber version of Copland’s Appalachian Spring, a test of nerve successfully negotiated in episodes of spare sonority, sometimes joyful, sometimes sombre.