Chandos Symphony Orch-estra's programme concentrated on works by Richard Strauss and Sibelius.

Strauss's Four Last Songs, settings of four poems in nostalgic mood, were sung beautifully by Mary Plazas.

Her palette of vocal colour, lots of breath to support long vocal phrases and intelligence of understanding were ideal means to give credence to Strauss's settings.

Much of the partnership between soloist and orchestra was highly commendable. The quiet closing stanza of the second song September was enhanced by a lovely solo horn for mudgewordnen Augen zu (eyes grown weary).

The leader's violin solo connecting the last verses of Beim Schlafen-gehen (While going to sleep) was delicately played, and the melodious ascension of the full orchestra for die Seele unbewacht (my soul, unobserved) was glorious.

Superb unison orchestration during Wir sind durch Not und Freude'(We've gone through joy and crisis) reached a great climax. However, there were sections when the over-loud, too enthusiastic orchestra submerged the fine soloist.

Tapiola by Sibelius, a tone poem wherein much of the national mythology of Norway is enshrined, exuded a feeling of foreboding as throbbing double-basses were chased by jarring woodwind.

Midway, the Chandos created a subtle amorphous atmosphere, prefacing a sudden sfzorzando from timpani and brass as the whole orchestra played with gusto, but a peaceful close on a sweet chord was obtained.

The composer's Symphony No.2 exuded immense energy. Fragmentary phrases in the Allegretto moved on to powerful low strings, and brass emitting deliberate crescendos and diminuendos, until at last, the fourth movement Finale: Allegro moderato in a frenetic fury, blazed to the end in a large-scale burst of melody.

Jill Hopkins