But despite falling short of the usually elusive standards of perfection, the Central Philharmonic Orchestra of China, under Hu Tong Yan, gave one of the most memorable performances of orchestral works here in recent times.

They gave three concerts with a programme that seemed designed to showcase their adaptability and the soloists' virtuosity.

While selections like The Yellow River Piano Concerto, The Butterfly Lovers Violin Concerto and Reflections Of The Moon On The Second Best Fountain were scarcely surprising, it was nice to hear their renditions of Bumi Malaysia and Musim Buah-Buahan and Anton Dvorak's Symphony No 9.

Response was immediate and overwhelming so the organiser, the Selangor Institute of Music, put together and additional afternoon show on Saturday.

And that there was almost a full turnout for this extra performance, which featured both the Butterfly Lovers and the Yellow River, should tell you how starved our audiences are quality orchestral entertainment.

The moment the Central Philharmonic, with over 80 players, dived into its first piece, a medley of Bumi Malaysia and Musim Buah-Buahan, you knew you were listening to a world-class orchestra.

The arrangement didn't quite seem right - the rhythms were somewhat jerky and forced - but it was nice to hear singing strings, and brass in almost perfect unison.

It was The Butterfly Violin Lovers Concerto that evinced the full capability of the Central Philharmonic. With soloist Liang Da-Nan playing his instrument with lyrical expressiveness, the orchestra managed some wonderful scene-painting.

The timeless love story, given symphonic form by He Zhan Hao and Chen Gang in 1959, was evocatively recounted, right from the mood-setting flute / harp opening to the melancholy conclusion.

The concerto was arranged to unfold like a simple uninterrupted suite and this made connection some what difficult for the audience, especially for those who've heard the work in different sections.

But otherwise, the flavour of each dramatic episode was effectively conveyed.

Liang who is the Central Philharmonic's concert master, a player of remarkable technique. His violin and Wang Me's harp managed a fine phrasal emulation of the traditional erhu and zheng during the quiet passages.

A round of rapt applause broke out after the last note died out, and some in the audience even stood up to show their appreciation.

After intermission, came The Yellow River Piano Concerto with soloist Shi Shu Cheng displaying his polished touch and technique.

Like the Butterfly Lovers, it's work replete work with folk overtones, and the four movements are structured to evoke the natural conditions of pastoral life, especially along the Yellow River.

Soft shades, melodious touches and passages of sparkling grace contrasted superbly with vigorously bowed sections, and Shi shone, especially during the second and final movements.

While it seemed intrusive when some members of the audience, obviously unaware of classical concert etiquette, applauded after each movement, the orchestra and Shi played on the without losing their concentration or sense of authority.

The pianist came on to do few encores after the concerto, and deservingly got a thunderous plaudit for his dazzling display.

Well, it was an enthralling performance by a fine orchestra and its distinguished soloists.

Purists might have scoffed at the sight of three overhead microphones and the monitors by the side, but maybe a hall the size of Dewan Merdeka does need amplification.... or maybe not, at least in the case of full-sized symphony orchestra.