My personal view of this symphony is that it might begin with anger and anguish, followed by contemplation and determination, then challenge followed by triumph. The SSO's performance sounded energetic and determined, but emotionally unvaried. In all, the last two movements were the most impressive, as befits the mode of interpretation. At this point, I must point out that the SSO's marvellous strings continue to impress many, providing a visual and aural treat, especially in the skittering and rushing passages of the Scherzo . Judging by the decibel production of their applause, much of the audience evidently enjoyed the performance - great art does evoke a great variety of responses.
Romanticism is much more than just nice sounds and exciting speeds.
One of the most difficult things about staging a concerto is providing a good balance between orchestra and soloist. Seow Yit Kin has a rather smallish piano voice which was conspicuously covered at times by the orchestra in the first movement of the Piano Concerto No.4. The ballroom acoustics of the VCH is generally fickle, depending on where you sit. From where I was, I found that the less accompanied portions of the concerto were the best. Seow's playing is marvellous, unassuming yet noble.