It might just be my imagination, but under the direction of Estonian conductor Eri Klas, the SSO seemed to play with a more Scandinavian/Nordic sound, which is both warm of spirit but cool of tone, and pleasantly sonorous - which is perfect for Brahms. Coupled with Mira Wang's intimate and sweet rendition of her solo, the result was one of honest, pleasing, calm and composed.

She plays her part with familiarity and experience; if she isn't exactly screaming Romanticism (which isn't appropriate for this work), she is very cool most of the time in her treatment of the music, engaging one's attention without quite being overly intense. Her cadenza was well-thought out, her instrumental tone lustrous and deep of tone, beautifully dark. Overall, a rather magisteral and regal reading.

Photo by Christian Steiner from www.mira-wang.de.

The SSO responded splendidly to Klas' louds and softs, displaying some really cool pianissimi as well as soft yet refined sonorities (Scandinavian-style nuances, explains the Inkpot Sibelius Nutcase). In all, the conductor's experienced and noble style lent an atmosphere of confidence to the concert.

The introduction of the concerto's slow movement was almost voluptuously sculpted by the performers. Like the first movement, this also exuded calm and composure, very very meditative, but yet having a sense of control about it. The finale enjoyed a spirited performance, Ms Wang's solo showing note-for-note assurance. In all, I must say this was one very Brahmsian model of a very Brahmsian work.

Now armed with spectacles (presumably to tackle the rather more complex score), Klas (right) led the orchestra in an expert delivery of Shostakovich's enigmatic final symphony in the second half. The introductory Allegretto revealed its underlying wit, though I think the players could lace the music with even more cheekiness, more grinning. Overall though, a fine and pleasingly ghastly reading.

The first Adagio saw beautiful solos from the lower ends of the orchestra, and credit also to the sepulchral brass chorales, all contributing to the admirable display of concentration, desolateness and gloom of the symphonic soundscape. Fine solo also from our Russian leader, Alexander Souptel, in the brief third movement.

The last was filled with appropriately eerie, piquant and perplexing colours - it is this last movement which astounds and confuses many, musician, enthusiast, scholar, reviewer alike. What on earth was Shostakovich, master of hollow-ring orchestration, passacaglia gloom and orchestral charge (among other things) - thinking? What I felt, at the end of the work, with that signature quartz-precision, clockwork percussion engine, wound and chug-tapped by the admirable SSO percussionists (Hi, Mrs Fox!) - was a big question mark.

Knowing Shostakovich's somewhat queer but undeniably intellectual mind, and the fact that this work is very much an example of late-modern/post-modern aesthetics: the music's ability and intent(?) to produce a big question mark in its listeners is one of its points(?) - a sensation similar to a piece of music not ending on a cadence. There isn't supposed to be a clear answer. I think. Get it?

But the point is, at the end of the concert, a big question mark hung over my head. I'd say that means the SSO did very well.

Visit Mira Wang's website at www.mira-wang.de.

There is a Nebula, Defiant and three Enterprises flying from Michigan to Singapore, and CHIA HAN-LEON is waiting for them.

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