Mariss Jansons's second Proms with the Bavarian Radio Symphony Orchestra brought fascinating novelty in the form of Honegger's Symphony No3 Liturgique, paired with Beethoven's Ninth, the second performance this season to compensate for a missed one last year.

Apart from the UK premiere just after the war, the only other occasion Honegger's symphony has been played at a Prom was in 1989, again conducted by Jansons. If he is the Swiss-French composer's only champion, it could take a while to restore him to the repertoire but on this evidence he's worth (moderate) exploration. A man who claimed to love trains as others love women or horses, he is chiefly famous for his loco-inspired, chugging Pacific 231.

The Liturgique, by contrast, has brooding, Germanic symphonic ambition, brutal in its spiky, martial grandeur. This rousing account drove home the raw, bellicose mood of the outer movements strings and brass clashing like warring armies. The wistful middle section offers temporary ceasefire as does a softly redemptive coda.

The Ninth, beautifully played with incisive woodwind ensemble, was intelligent, crisp and Apollonian. Tempos were well judged, never out to shock.

The Bavarian RSO Chorus excelled, especially the mighty contraltos. Baritone Michael Volle led an accomplished quartet of soloists, taking his "freudenvollere" in a fearless, single breath. In the final presto, reason and sagacity suddenly gave way to a dizzying Dionysian freedom. This was what we had been waiting for. The Prommers roared back their own noisy cheers of joy.