Storgårds and the BBCSO brought ebullient, shimmering energy to D’un matin de printemps, and sustained the inner tension under washes of sound in D’un soir triste. For complete contrast, the programme switched in its second half to the Austro-German tradition. No composer is more steeped in that than Mahler, but this performance was striking for the way in which Storgårds articulated that. His account of the Fourth Symphony opened with unusual lightness and clarity of texture, showing the music’s classical roots. Storgårds was also clear-sighted about where the music was heading, so he never held back when it came to the expressionistic outbursts – here the textures were raw and exposed – and he never shirked the emotional depths of the middle movements.