As one might expect from the concert's title, the star at the centre of the evening was Richard Tognetti - but his fellow musicians were certainly shining in the firmament with him. It is the evident respect and affection with which the ACO players respond to their musical director that remains the foundation of their success.

For many of us, Beethoven’s Violin Concerto in D major, Op.61 and Fifth Symphony are works we have grown up with and possibly performed; they are embedded deep within us. So the whole experience for both orchestra and audience was especially charged with the memories and experiences of the music.

Tognetti’s interpretation embodied descriptions of the concerto's original 1806 performance by 26-year-old Franz Clement – which was described as elegant, delicate and tender. The orchestra was ever-watchful, with carefully adjusted dynamics so as never to encroach upon the softest solo passages.

Tognetti chose to play a "synthesis" of the cadenzas created by the eminent violinists throughout history: Henri Vieuxtemps, Ottokar Nováček (incorporating timpani), Fritz Keisler, Leopold Auer and Ferdinand Laub. The result was a curious combination of homage to past superstars and an exhibition of Tognetti’s own considerable expertise. I thought the solo interludes were perhaps a little too long and could have been condensed to intensify the focus on Tognetti’s mastery of the upper register and his signature sweetness of tone.

Some passages recalled the passion and physicality of a great rock music solo, the rough-edged attack making the soloist’s unique statement, and in those wilder passages we heard Tognetti in his element, transcending time in dazzling virtuosity. The supersonic high trills and teasing harmonics created a provocative, suggestive intensity (and drew enthralled smiles from the orchestra members).

The Fifth Symphony took off at a fast clip, the tempo first seeming frantic rather than brisk. Balance was quickly restored and the music expanded. What a treat to hear such a different sound to the usual symphony orchestra version of the famous work, accentuated by the configuration of the string sections onstage. Not surprisingly, the powerful string voices created a warm, resonate and sympathetic texture against which the brass and woodwinds made their statements with greater clarity. The flute, bassoon and oboe solos presented these well-loved passages with exquisite freshness – a true example of Irish virtuoso Kevin Burke’s definition of excellence: "every note must be perfectly formed".

This was a concert that will be long remembered for the reverence with which Tognetti approached the monumental musical works and the immense joy generated by the Australian Chamber Orchestra and its distinguished international guest musicians.