Royal Philharmonic Orchestra/Kempf, Royal Festival Hall, London

There are several Beethoven series currently on offer in the capital. The piano sonatas are being put through their paces by Arturo Pizarro and now comes the RPO with the symphonies and piano concertos. Conductor Daniele Gatti and pianist Freddy Kempf seem made for each other if the opening concert of their series is anything to go by. In six concerts from now until early June, the piano concertos will be heard in chronological order while the symphonies duck and dive – a sensible solution.

This concert brought the first (published) concerto alongside the sixth symphony. But a stormy overture began events. In the most favourable seating arrangement acoustically for the unflattering Festival Hall (cellos and double basses next to first violins), Egmont, that most passionate of works, eventually managed to quieten the barrage of coughs. (If patrons are asked to switch off mobile phones and pinking watches, couldn't coughing be added to the list?) Virtues to be repeated throughout the programme were quickly announced from the orchestra: a splendid rawness of horn sound, wonderfully measured and articulate string chugging, a palpable sense of mutual observance. Utterly thrilling was the final climax, Gatti so well judging the pacing.

Freddy Kempf was the youngest winner of the BBC Young Musician of the Year. That was 10 years ago and how well he's lived up to that promise. This is his first complete Beethoven concerto cycle and anyone with the remotest interest should get these concerts into their diaries. Beethoven must have been about the same age as Kempf when he first performed his so-called first concerto. Gatti and Kempf seemed as one in their fresh-faced view. In the first movement Kempf was minutely sensitive to phrase-shape and harmonic changes even making a distinction in sound between "marcato" and "staccato". His technique is limpid with effortless passage work – marvellous calm chromatic scales in the development section – but explosive when required. He's a chamber music player, listening intently to his colleagues in the orchestra; seldom has the recapitulation sounded so "meant" between soloist and horns. A huge cadenza (all Beethoven?) was positively improvisatory if finally too long.

After the dreamy warmth of the A-flat slow movement with Kempf so touchingly expressive, the final Allegro scherzando fairly fizzed along – most definitely "scherzo" in feel and pace. Kempf delightfully playful, picking out contrasting voices in the bass and treble to enchanting effect, let the A- minor episode bounce and roll. A finely judged "Pastoral" symphony ended the concert. Gatti's approach is refreshingly light-touched with no hint of exaggeration. The orchestra was on top form with superb playing in all departments. This series is not to be missed.