All five composers involved in Hong Kong's contemporary musical festival attended the premiere performance - one playing his own work. Some in the audience may have considered the Hong Kong Sinfonietta's performance inadequate. But considering the two-hour challenge, they played adequately enough under their exuberant visiting conductor, Tsung Yeh. Daniel Law's ambitious Concerto For Orchestra did suffer at the hands of the orchestra. Based on a single introductory motif, the construction creates a variety of moods, from humour to subtle tone-painting. Certainly an accomplished composer, Law's work sounded forced. It needed a Hong Kong Philharmonic to make it live. Renowned Canadian flautist and composer Robert Aitkin played his own Berceuse. With more subtle orchestration, this had some of the most tender moments of the evening. What was more impressive was he was not ashamed to bring in 'anachronistic' harmonies, and he employed the most beautiful, tender offstage flute for the finale. Equally impressive was Grand Atoll by Isao Matsushita, with the unusual consort of the Japanese saxophone quartet, Quatre Roseaux, playing with the orchestra. Beginning with a predictable Debussy-like start of the sea, Matsushita almost imperceptibly thickened his texture. Not with sudden movements, but something like an aural broadening of light - of tumult and peace. The Hong Kong-Australian composer Koo Chat-po produced Mirages, which - like the title - was a bit too ephemeral for the listener. It deserves a second hearing. Canadian composer John Beckwith wrote his three Myths for flautist Aitkin, and, while fairly long, they made for relatively easy listening. It takes audacity to write yet another Orpheus, but this was tuneful, colourful and suitably picturesque. Musicarama '96. Robert Aitkin, flute; Quatre Roseaux, Hong Kong Sinfonietta, Tsung Yeh, conductor. City Hall Theatre. September 1