It is framed by two vivid translations of art into music. Martinu’s vision of the translucent murals of the Renaissance master is followed by artwork from a more obscure figure. The architect and artist Viktor Hartmann would be unknown today had he not been a close friend of Mussorgsky, who mourned his early death by immortalising his pictures in a suite for piano. 48 years later, Maurice Ravel transformed it into one of the most spectacular orchestral showpieces of them all.