John Storgards is a conductor who sometimes plays violin; Håkan Hardenberger is a trumpet player who occasionally conducts. They're both adept at passing the baton – in the first half, Hardenberger conducted Storgards in the UK premiere of Kimmo Hakola's Violin Concerto; after the break they swapped roles for another British first, Lucernaris, the trumpet concerto by the young Swedish composer Tobias Broström.

Like his fellow Finn Sibelius, Hakola took up the violin at an early age and draws inspiration from the natural world – he describes the soloist as "like an eagle soaring over a beautiful landscape". His Concerto is a substantial work written in sumptuous, late Romantic language that Sibelius would recognise, but with a fearsome technical virtuosity he possibly wouldn't. The long first movement demanded such an unbroken frenzy of double-stops that Storgards spent the few bars of rest tearing broken hairs from his bow. But the highlight was an impossibly sustained high harmonic, eddying above distant turbulence from the timpani.

Broström's Lucernaris is a large, somewhat capricious work for trumpet, live electronics and mood-enhancing lighting cues. It was most persuasive with the orchestra pounding out powerful, Andriessen-like cross-rhythms; though the structure appeared to be overreliant on the technology. Hardenberger developed a canon with himself on a digital loop, before appearing to lose interest and walking out before the end, the remainder of his contribution coming from outside the hall.

After two such dense and demanding pieces it was a wonder the orchestra had sufficient energy to commence its survey of Stravinsky's complete ballet scores. Yet Storgard's sprightly account of Petrushka suggested this will be a series worth following; a compellingly anarchic evocation of the circus coming to town.

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