The Esplanade Concert Hall was bustling with life as I took my seat. As I looked around to check out the new home of the SSO, I saw a crowd of trendy teenagers, youthful yuppies, and tai-tais. I wondered if this somewhat more glamorous crowd was due to the Esplanade factor or the "Shine" factor. As for myself, I had been curious to listen to the intense 'Rach 3' in the informal "listen-and-learn" setting of a Casual Concert.

What followed in the first half was a rather effective showcase of the SSO's percussion, woodwind and brass sections. While some may feel that the SSO still has to undergo a period of adjustment to get accustomed to the acoustics of the new concert hall, I felt that these sections at least were doing better than before. Berlioz's Symphonie Fantastique, Gade's Echoes of Ossian Overture, and Dukas's The Sorcerer's Apprentice gave these sections the opportunity to, well, shine. Where previously the strings would inevitably lead and almost dominate the music, that Sunday these three sections held their own, almost for the first time in my listening experience. The three pieces presented an interesting selection of moods: mystical, brooding, and witty.

For the Berlioz, the interplay of the harp and the strings set in motion a dreamlike atmosphere, as befitted the theme of a sensitive young man driven by hopeless love into an opiate stupor. The waltz was delicate with a slightly faltering rhythm, and the oboe and flute colourfully brought on the dramatic climax. Although I would have preferred a stronger rhythm in the waltz, the movement was interesting; it was elegant and yet possessed a mystical quality.

Elegance, however, was not quite so evident in the Echoes of Ossian Overture. The piece evoked a saga of adventure, which the brass gamely took on, creating a sense of grandeur and solemnity. As Gade's Ossian belonged to the genre of dark and brooding heroism, the Overture fittingly began with a sombre mood. The trumpet interrupted this for a majestic evocation of the heroic theme, followed by a soothingly tranquil interpretation of the same theme on oboe. The orchestra stolidly kept up the narrative of the saga, alternately peaceful and war-like, until the dark and brooding end. Unfortunately, the narrative spirit was flat, and the piece began to drag. I suspected that there was too little study of the exquisite melancholy that gave the piece its soul.

The perennial favourite (with the audience and orchestra alike), The Sorcerer's Apprentice, was played with more zest. It was introduced by Lan Shui recounting the story of the curious young apprentice who was brought to grief by his meddling with his master's magic. To better relate the tale to the music, Lan accompanied his words with pockets of humming. This introduction highlighted the dramatic effect of the music. In particular, Lan's explanation of the scenes of the spellbound broom coming to life enhanced the effectiveness of the music. During the playing, the principal bassoon brought to life the anticipation, fear and wonder of the moment when the broom stirred to demonic life, just as Lan had promised: his exaggerated dramaticism contributed to the dynamic and fantastical effect. The dramatic moods, first one of curiosity, then frantic chaos, followed by the mix of awe, apprehension and relief when the sorcerer returned, were explored with great individuality.

What made this eclectic selection of pieces unfortunately tedious was a poorly-aimed introduction to each by the conductor. Each preamble sounded like an excerpt from a tedious textbook on classical music, with little personal opinion on the pieces. Given the context of the Casual Concert, I had expected Lan to be more engaging. Although useful background information was given to enhance the programme notes, I dare say that the attention span of the Casual Concert listener was strained.

It was doubly unfortunate that the other characteristic trait of the Casual Concert - the Question and Answer session - was also dull. Perhaps the SSO should revert to the less-spontaneous method of screening the questions, and weeding out those interminably long ones, as well as those that ask for the same answers. The charm of hearing precocious questions from children also wore thin after the umpteenth time - for example, "Can an orchestra play without a conductor ?"

It also did little for our precious guest pianist, who was observed to be pacing the small space between the piano chair and the second violins while Lan valiantly tackled the questions. To his credit, Lan's humourous side tickled the audience. However, the only question directed to the restless player was on his culinary tastes - and his unhesitating answer was "spaghetti and meatballs". To my further surprise, no introduction to the highlight of the concert, Rachmaninov's Piano Concerto No. 3, was given. A crucial omission, given that this was the highlight of the afternoon, apart from it being an immensely famous and popular work.

All said, the familiar favourite proved as satisfying as any artistic experience on a lazy Sunday afternoon could have been. With only the first and third movements performed, it seemed like the emotional and thematic coherence of the work was sacrificed for the gratification of the famous virtuosic displays. This did not seem to affect Markovich, who delivered like a seasoned old-timer, with truly Russian passion and dazzling technique. His playing was initially controlled, allowing for the graceful leading of the cellos in the first movement. As the brass reiterated the main theme with rich, creamy notes, Markovich reclaimed the centre-stage. By the third variation on the theme, the piano had become fiercely insistent, hinting at the furiously intense passages that were soon to come. The piano then ebbed to a contemplative note before rising up with doubled strength, filling the Concert Hall with graceful and majestic notes.

Markovich played with heart-felt emotion, spanning the emotional spectrum from adrenaline-charged passion to delicate meditation. His expression was never forced, nor was his passion contrived. He was fiery, but not brash. There was no crude thundering or hollow sentimentalism. He had effortlessly brought out the emotional richness of the piece, gripping the audience in an intense musical voyage. In short, Markovich's stamina and technique were nothing short of dazzling.

The orchestra kept up with the piano, although, at times, it threatened to drown the piano with its less-than-measured playing. The thin timbre of the piano did not help , either. Although the piece came off eloquently, the overall effect was not as earthshaking as, I am sure, a performance of the piece in its entirety would have been. While Markovich's mastery of 'Rach 3' was displayed, a deeper ruminative coherence of the work did not emerge (not helped, of course, by the missing central movement). Thankfully, Markovich pulled off the performance without reducing it to mere sound and fury.

Markovich was a hit with the Esplanade crowd - he had barely finished the last bars when the crowd let loose with approbation. But for myself, my sensitivities had been stirred, but I had had enough edu-tainment for the day.

Deanne Tan will be inventing fresh questions for the conductor on her next outing to a Casual Concert.

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