Santtu-Matias Rouvali lends his distinctive energy, precision and flair to two contrasting works by Dmitri Shostakovich: the sharp-witted exuberance of Moskva, Cheremushki—a satire on Russian housing policy in the 1950s—opens the programme in the form of the suite compiled by Andrew Cornall, and leads into the youthful brilliance of the first symphony dating from 1926.