The poet is lamenting the loss of China's prosperity after half the country fell to the Manchurian Jin people and later the Mongols. In particular, he is addressing the common witness of these invasions, the moonlight.

The composer explained that the piece begins with the invocation of the feelings of lamentation first, as is evident in the huge dark passcaglian string passage which begins the movement, beautifully foreboding in Shostakovichian manner. Soft, quiet murmurings on harp and solo cello belie the influence of Chinese/Japanese theatrical gestures, minimal expression for maximum effect. The flute begins with a series of low trills. Jiang Kui's tune first appears as intervoices hidden between the sections of the orchestra, before finally appearing in full on the flute. All ends, pianissimo, on low flute with harp.

A Second Opinion by William Beh 21st January, Friday. The "Flute Extravaganza" subtitle for the programme is, I think, a misnomer. "An Evening of Bright Sheng" would have been more accurate, whose works dominated the evening. Between the oversized orchestra and eclectic programming, the virtuosity of flautist Sharon Bezaly was eclipsed by the music of the Chinese-American composer. Mozart's Overture to The Magic Flute again displayed the SSO's "need to warm up" syndrome. It did not ignite from the word go, despite maestro Lan Shui's earnest direction, but when the spark finally caught, the playing was improved considerably. Bright Sheng was there in person to introduce both works which were being performed. (He had also, earlier, presented the pre-concert talk). Lan Shui made his clichéd joke about "nine out of ten times we perform the music of dead composers" before introducing the composer; it was noisy with all the stagehands moving the collapsible platforms in the background. Bright was quite excited about the SSO playing the music because, by his own admission, it was "very difficult". Indeed it was. Flute Moon required an orchestra of Mahlerian proportions, strings without winds or brasses, plus eight timpani, two xylophones, bass drum, gong, piano and harp, that the front of the stage had to be extended and the soloist hardly had room to walk. As with so many modern works, Flute Moon falls into the category of "love it or hate it" music; I loved it. The first movement, anyway. It was an interesting use of the highest instrument (piccolo) in the orchestra, but I really didn't know what to make of the second movement, which was based on the cadence of a Sung Dynasty melody. The second half was less exciting. François Borne's Fantaisie Brilliante sur Carmen was an academician's effort to take the hit numbers from the French opera and string them together into a "fantasy" (another cliché) medley of technically difficult pieces. The soloist, Sharon Bezaly, coped but only just; the rapid arabasques were more fussy than brilliant. All in all, I couldn't see the point of the inclusion this work. Something meatier and more deserving of a hearing could have been played instead - the Khachaturian-Rampal Flute Concerto comes to mind, or perhaps Ibert. The final work of the evening, China Dreams, was even more eclectic than Flute Moon. I hesitate to say this, but Bright's music outstayed its welcome, because it was neither good Western nor Chinese music. Too much of it, especially the third movement, The Stream Flows, sounded more like a documentary soundtrack than ars qua ars. There is a very telling - if ironical - remark in the composer's own words in the programme notes: "Strings sing out sweetly from the noise. It should take you someplace you haven't before." It's not often a composer describes his own music as "noise" (Well, Tchaikovsky did so in talking about the 1812 - but that's Tchaikovsky.) But there was excellent music-making from the orchestra - none of that "one-half" syndrome this time out - and maestro Lan Shui was in top form. It was a pity that the music on hand either went under or over the audience in the half-empty hall.

The performances by Israeli-born flutist Sharon Bezaly were skilful and adequate. Based in Salzburg, she has performed in chamber settings with such names as David Geringas, Gidon Kremer, Karl Leister, Aurèle Nicolet, Michala Petri and Hansjörg Schellenberger. She was also invited by the great Sándor Végh to be principal flutist of the Camerata Academica Salzburg.

Although her Israeli roots aren't that far off from the Chinese brand of orientalism, I did feel that she didn't quite capture the Chinese spirit of Flute Moon's part as only a thoroughbred Chinese can. (I don't mean to sound arrogant, it just is). The phrases - especially those which are unmistakably pentatonic - can "spring" and "leap" more, to have the distinctive nuances of Chinese music - the pauses, stretching, slides, etc. Nevertheless, I did enjoy the performance, for Ms Bezaly played with concentration and also humility.

Twenty-eight this year, Ms Bezaly's youth comes across amiably in her performance disposition. I suspect she is also aware that the solo flutist does not occupy as glamorous a place as do violinists and pianists. Her rendition of the "Brilliant Fantasy after Carmen" (originally for flute and piano, orchestrated by Guiot) was thus brilliant and fresh, but unasuming. Sure it robs something of the fiery glamour of the Spanish drama, but as entertainment for an evening of musical exploration, it was simple and cosy.

Ms Bezaly's tone is clean if slightly airy. Her dynamic range is impressive due to her ability to hold very true, stable and audible pianissimi. It seemed to me quiet hard to place what school of flutists she may favour, as her tone is cool and quite neutral. Her touch is light, even with accents, her tonguing quiet though her loud breaths are occasionally distracting.

In the variations on the famous Habañera, her reading is nice and sweet - here is where I found the sleazy aspect missing. Otherwise, the fast variations, with some wide leaps at tremendous tempi, staccato, were impressive if slightly blur and soft. She obviously loves phrases involving turns, and take every opportunity to display them with a flourish.

Ms Bezaly's rapport with the orchestra and Shui Lan is palpable and entertaining. In Flute Moon, she came across not so much the virtuoso but the explorer, even visitor to a strange new world. Though there were passages in the Carmen Fantasy far more difficult than in Flute Moon, the modern (it's 2000 and we're still using this word.... sigh...) soundscape found willing advocates and explorers in her, as well as in the SSO. The camaderie between composer, soloist and conductor was palpable and proved to be a most heartwarming aspect of the evening - history, I think, may want to note such moments. Now it remains to be seen whether the music is remembered.

I could barely remember China Dreams from the last time I heard it (in September 1997 - reviewed here), played by the same performers, with the composer also in attendance. I do remember that I could not understand it. But I am sure that this time, the orchestra played even better, and were more at home with it. The reading of the Prelude found the SSO in much surer voice than I remember. Praise also to the solos from the cor anglais and the string quartet. The same Chinese nuances which so impressed the composer the last time were still there.

My favourite movement is the Fanfare - tonight's reading was likewise surefooted, but my impression is still that the SSO has yet to surpass the first performance they gave in August 1995 under conductor Samuel Wong. The sense of wild but controlled momentum, the rush of excitement in the syncopated rhythms can be heightened further still.