This nicely varied programme proved to a double blessing, for it was given a wonderful performance by all on stage. Drawing open the curtains, Walton's Spitfire Prelude and Fugue made a splendid introduction. Nevertheless, a few small reservations can be made; for example, the brass was a little muffled - they remained so until the second half of the concert - and needed more brilliance. The strings however, were already in warm and wide tone. The Fugue featured impressive playing, in exciting and quick pace, dramatic yet precise. Though technically quite excellent, the performance could definitely be injected with more British swagger - but by and large, I ought not to complain. A choice "overture" which should see more performances in the future.

The highlight of the concert came with little fanfare, save perhaps, for the significant numbers of the soloist's friends and young students. Chua Lik Wuk (left), a former violinist with the SSO, appeared on stage unassumingly. I must confess I am not a big fan of this concerto, and the work itself is very brief - and yet, Mr Chua's performance expanded everything into much more than expected. Immediately, his expressive playing and rich tone is undeniable, with even projection and very pleasing stage presence. With eloquent double-stops, timbres and colours, in absolutely luscious orchestral accompaniment, Chua carried the concerto with relaxed confidence and impressive command, capturing the mood of the work magnificently.

Mr Chua's dark rich lower register and insistent shining upper notes perfectly complement the fact that he obviously feels for the music. If he is not exuding a regal passion for the romantic score, he brings into the music a calm sense of freedom which lends to it a wonderful feeling of carefreeness. The Andante was graced by gorgeous tessitura, trills and runs, in highly musical and sensitive phrasing as well as rubato. The performance of the finale was vivacious, yet noble and dignified, full of rustic spring cheer - in all, very expressive and very poetic.

As I've said, I've never been very impressed with this concerto, but after tonight's rendition, I've completely changed my mind. From an individual reviewer to an individual performer, there is no high praise I can give.

- Chia Han-Leon

Once again, (with regard to the programme notes) may I highlight the fact that there is no direct evidence whatsoever that Sibelius was influenced by Tchaikovsky, whereas there is evidence that Sibelius did not enjoy being compared to the Russians, who were, in his time, in political control of Finland. Now that my customary counter-note is done with...

Okko Kamu (left) has always seemed to me to possess a more Classically-inclined outlook in his conducting; as such, I was not impressed with his performance of Sibelius Second with the SSO back in the mid-1990s, whereas I do admire his work with the later, more concise, more "modern" works of the composer. I came to this concert with no expectations for the First Symphony.

As it turned out, the reading was magnificent. The introduction was dramatically and solidly sculpted, the brass in full voice, the orchestra's accents, pauses, pulse in excellent display, with a fierce aura of conviction. The bellowing fanfare passages were majestically massive, and artfully shaped in Kamu's concise conducting. If there is a suggestion I can make, it would be to make things even sharper. But generally, the amount of weight heaved up by orchestra and conductor was very effective for the first movement.

This massiveness however, was also detectable in the Andante - here, though the weight is not ineffective, things could definitely be lighter. However, Kamu succeeds in coaxing a lot of detail from the orchestra and score, and shows his intent in exploiting the music's dramatic shapes, and the SSO responds to his rubato.

The overall picture of the Andante in this rendition was one of solid colours, which is different from the more wispy tones I'm used to in other (recorded) performances. This is not necessarily a fault, for in the fortissimo sections, this allows clear, warm and huge sounds. I must add though that the strings were very domineering, covering much of the important woodwind detail. But at other times, as in the fast passages of the Finale, the strings (in Kamu's hands) reminded me of their legendary account of the Beethoven Seventh some years back - blazingly, impossibly fast. Likewise, the trombones and tuba were having a heck of a time, outpouring tremendous torrents, almost overpowering. The Scherzo was excitingly paced, with precision playing - the fabulous interplay of instrumental lines was quite a spectacle to behold, but one awful entry by the trumpets in the Trio was pretty obvious. No matter, the performance ended in triumph for the Finale, to much fanfare, this time from the audience.

Kamu's interpretation of the Symphony is more towards the classic style (eg. Karajan, Barbirolli), whereas Shui Lan's interpretation in 1998 was dictinctly more contemporary. But the orchestra is the same - if this capability and flexibility goes on, we would have quite a Sibelius orchestra here. Five or six years ago, I told my fellow Inkpotters (several times) that the SSO (then) was simply not the kind of orchestra disciplined and skilful enough to tackle Sibelius' scores - that stage has come to pass.

- ISN

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