David Atherton's latest foray into 'unknown Stravinsky' last weekend was a double-edged sword. On the one hand, even the most insignificant music of undisputed genius has its revelations. On the other hand, a pot-boiler is a pot-boiler: Stravinsky had plenty of caviar and oysters in his musical larder, but he was hardly averse to using some mashed potatoes to glue the ingredients together. That was certainly the case with Scenes de Ballet. I have never encountered any recording (though the HK Phil is scheduled to make a record later this year) and don't know any performance here. The reasons are obvious. Stravinsky wrote it in 1944 for Broadway producer Billy Rose as the 'serious' section of a show. Knowing that Rose took that word seriously, Stravinsky didn't permit himself sarcasm or honest acuteness. Instead, as played last weekend, it was a pastiche of unpretentious vulgarity and a few very touching moments. The latter were supplied by some exquisite musical solos. I can think of few more delicately measured than those supplied by two solo cellists playing without vibrato, against the twittering first violin, all against the string section of the orchestra. The few measures of solo by clarinet Andrew Simon were as entrancing as the tones of trumpet and horn together. These moments were the caviar. The rest, even a finale inspired by the Liberation of Paris, was refined bombast, albeit bombast by a master. Chantal Juillet, the noted Canadian violin virtuoso, is known for contemporary music, not the sheerly romantic Max Bruch First Concerto which she played here. This was not a mellow, luscious Bruch. It was feistier, more pointed, yet with that unavoidable romantic overlay. The opening was sharp, almost staccato, a firm contrast to the tender memorable second theme. Yet throughout the movement was a fire in the belly of the piece. Atherton kept the orchestra in check (after all, this is virtually non-stop playing for the soloist), but the craggy ensemble work was dynamic enough. The finale had Juillet in her element, coasting through the Allegro energico like a Late Romantic square dance. Atherton ended with the most popular music of all time, Beethoven's Fifth Symphony. Wasting no time, he conducted with almost brazen effect. HONG KONG PHILHARMONIC, Chantal Juillet, violin, David Atherton, conductor, Cultural Centre Concert Hall