Mozart in the City Hong Kong Philharmonic Orchestra HK City Hall Concert Hall Reviewed: Jun 5 It's interesting to hear how conductors approach Stravinsky's Symphonies of Wind Instruments: push its astringency too far and the work can slice ice; underplay it and you have a rag doll with no bite. Edo de Waart found the optimum balance, touching the extremes but focusing on the middle ground that mesmerised the audience with its static walls of sound, which would have come to little without the players' precise attack and balance. De Waart found a similar poise in Mozart's Symphony No39. The Philharmonic's interpretation of classical repertoire has sometimes disappointed by flexing its muscles too much in terms of attitude and dynamics, but this performance was beautifully contained. The feeling that this was a definitive performance in the making was tempered only by the number of phrases with insufficient stylisation. Stravinsky's Pulcinella Suite was almost a non-event. Understating both its eccentric detail and brash colour, it was like hearing an approximation of the composer's intentions played at the end of a tunnel. Lin Jiang was the 22-year old soloist in Mozart's Horn Concerto No3. There may have been too many split notes, but the integrity of his account of the work overrode them, the one question mark being the haste of the slow movement. Producing colours to match the fleeting moods in such a short work bypasses many soloists, but not Lin. The orchestral accompaniment was unworthy in comparison.