In a more relaxed vein, its andante cantabile saw the refinement and subtlety of its scoring beautifully echoed in performance.

Toru Takemitsu’s Three Film Scores for String Orchestra reminded me very much of the Japanese composer’s admiration for the Frenchman Messiaen. Rachid used hands alone here to mould the rich and sometimes pungent harmonies, whether jazzy or eerie; with a closing, throwaway waltz that forged a definite French connection.

For all its popularity, Saint-Saens’ Piano Concerto No 2 has not been heard in this hall since 2008, with Auckland Philharmonia last programming it an astonishing 36 years ago.

The piece may have had its detractors (for Polish pianist Zygmunt Stojowski, it began with Bach and ended with Offenbach), but on Thursday night it was a mighty showcase for pianist Louis Schwizgebel, from the magisterial ruminations of its opening cadenza.

Together with maestro Rachid, the Swiss pianist revealed premonitions of a moody Rachmaninov yet to be born, and both approached the hearty galloping of its second movement with unswerving sangfroid.

Saint-Saens’ finale, like a delicate dessert after a hearty meal, was the epitome of Gallic grace. The generous Schwizgebel, perhaps bearing in mind the title of the night’s concert, played Debussy’s L’Isle joyeuse as a brilliant encore, reminding us how starved the city has become for solo recitals.