Mahler’s First Symphony tackles the theme of child mortality, pronounces flamboyantly opinionated Norman Lebrecht in a new book. Really? OK, the third movement is based on a funeral march, and a minor key version of Frère Jacques. Also, any reference to child mortality might have been very difficult to discern at this particular concert, for here the symphony was despatched by 100 of the county’s finest young musicians, all of whom seemed to be a picture of health and obvious enthusiasm, even though they’ve just returned from a gruelling concert tour of Spain.

But no, Lebrecht’s opinion seemed increasingly far-fetched as blazing fanfares of clarinets and brass transformed into the second movement’s cheerful major-key rendering of a German Ländler. Even the funeral march itself, while touching in its poignant beauty and power, retained the flavour of a robust gypsy band — Mahler is thought to have been recalling an adult hunter’s funeral, incidentally. The final movement produced a memorable display of raw, resplendent brass playing. Throughout, the trademark brilliance and clarity of Mahler’s orchestration was expertly realised by conductor John Traill.

Appropriately, the concert began with Chabrier’s Espagña, which must have gone down a treat on the orchestra’s Spanish tour, with its light touch and vibrant rhythms. Also included was Stravinsky’s Firebird Suite, in a performance that never forgot that this is basically ballet music. It’s also a very colourful score: this was particularly brought out in the romantic string passages, and characterful, confidently played wind solos.

Altogether this most fulfilling concert showed that the current OCYO has reached a very high standard. Conductor Traill obviously has a strong rapport with his musicians, and praise must also go to the parents and teachers behind the scenes. But young players do not reach this level without a lot of hard work and self-discipline. This orchestra is a credit to the county, and must not be lost in the forthcoming cutbacks.