As it turned out, this repertoire, which spans a mere 60-odd years of musical history, is as diverse in style as it is in colour. It is not light repertoire, and certainly not all that easy, but even if the SSO is not the best of jazz or American music exponents, they certainly provide one very enjoyable concert.

But to begin with, the Bernstein pieces were subject to the "warm-up" sequence, which unfortunately simply means that the sound of the orchestra was very brash and tight and ensemble was messy. The musicians were not apparently quite in their element here, not playing in vibrant, "swinging" American style. But by the time we reached the end of the concert - my you should see the difference - for Gershwin's An American in Paris, the SSO was in perfectly unified voice, all the way to the car horns. Here was one very lively and colourful performance, grand and assured, spirited, spot-on in all the instrumental solos - a little more looseness would help, a bit more irregularity in that famous trumpet theme. They were by turns loud and brilliant, or warm and soft; and conductor Hu led with faultless direction, conducting from memory. As I mentioned, the SSO would not at this time play as well as an American orchestra in these quintessentially American music, but certainly, they made a very impressive effort with An American in Paris.

Likewise, here was a joyous, confident and bold reading of the Shostakovich Jazz Suite No.2, full of weight and colour. Hu conducted with unfaltering pace and unflinching pulse, gathering unfazed performances from the orchestra. They captured the Sousa-ian bombast of the opening March, the Festive Overture-like celebrations of Dance I with lively and non-stop momentum. Dance II was finely executed, while the frivolity of the Little Polka mused lyrically beside the warm saxes, bright piano and unobstrusive guitar of the Lyric Waltz. In all, the orchestra created the most solid forte sculptures, in almost tempered steel musical architectures, superbly witnessed in the sculpted ending of the Waltz I, or the gorgeous phrasings of Waltz II. If I can sum up the main virtue of this performance, it is just one overwhelming sensation of assurance and solidity.

And no less so was the performance of the Tchaikovsky Piano Concerto No.1 with Korean pianist Jinho Kim (right). Even though this work was the odd one out for the evening, in spirit it was just like the rest. Simply put, soloist, conductor and orchestra (but especially the soloist) gave an honest and warm interpretation, with absolutely no hype or unnecessary fireworks or heartburn. It was just the right amount of Romantic fervour, tempered with a level of aesthetic taste for the music's wonderful structures, curves and feelings - which is very rarely seen for this quintessentially arch-Romantic work. The first movement was full of majesty and grace, but not overblown theatrics. Even the rubato seemed levelled and full of artistic balance.

Kim gave a heartwarming and sweet delivery of the Andantino, again with much poise in the graceful quick dance passage. His touch is breathtakingly beautiful, light, yet precise in total control. The finale was speedy and assured, gathering energetic pulse to the wonderfully optimistic conclusion. After the performance, Kim obliged the continuing curtain calls with an equally expert and poised rendition of Chopin's Waltz, op.42.

And finally, compliments to the presence and leadership of American-Chinese conductor Hu Yong-yan (left), whose high level of professionalism and skill was on full display tonight. Under his direction, the SSO played in utter and complete fearlessness - rarely have I seen the orchestra perform with such cohesion and intrepidity. There was simply a complete absence of uncertainty, reflected I'm sure, by the fact that Hu conducted the entire concert from memory. I certainly hope the SSC will bring him back in the future. For now, my heartiest congratulations to all.

CHIA HAN-LEON is currently fiddling with light gull gray, aggressor gray, blue gray, light gray, smoke gray, gun metal and other grays. Also, he's wondering just how blue Duck Egg Blue is, or is it really green.

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