George Vass really earned his spurs here, achieving miraculous results on the economic minimum of rehearsal, and the PFO did him proud (and were unstinting in their concluding applause of him).

Vytautas Barkasukas’ Concerto Piccolo provided an exciting, ear-tingling opener before the premiere of festival-commissioned Concertante Variations by John Pickard.

Almost a miniature Sinfonia Concertante for flute, oboe, clarinet, bassoon and horn (and a mini-Young Person’s Guide to the Orchestra, this is an exuberant fun-piece, adroitly mixing British bustle and vigour with a more continental sensuality. There was huge enjoyment on both sides of the extended platform.

After Feliksas Bajoras’ Symphony no.2, composed in 1970 and the oldest piece here, a revealing example of the fascinating aleatoricism of that period, we heard a simply stunning account of James MacMillan’s Seven Last Words from the Cross.

Some might cavil at the predictable structure of each of these movements – choral outburst, huge silence, variations of outburst followed by questing orchestral ruminations – but it cannot be denied that the emotional effect is shattering, many people on both sides in tears at the end whose power remained unbroken.

The youthful members of the Choir of Royal Holloway sang with unwavering commitment (expertly coached by Rupert Gough), the PFO played with exemplary concentration and devotion. This was a huge triumph for George Vass and the Presteigne Festival itself.

Rating * * * * *