Han-Na Chang plays Haydn Hong Kong Sinfonietta City Hall Concert Hall Reviewed: Dec 12 Han-Na Chang (far right) didn't so much play Haydn's Cello Concerto No1 as inflate it to fill the hall. Her sound in the outer movements threatened to rasp, and there was little respite in the slow movement that confirmed her romantically charged view of the work. Chang's easy stage manner, alluring smile and commanding technique elicited an enthusiastic response from the audience. But was it a performance to which Haydn would happily put his name? With such limited sensibility for detail, probably not. Haydn's Divertimento in B flat, Hob II:46 opened the programme. It's a rarity and gave the opportunity to hear the second movement, St Antony Chorale, on which Brahms built his Variations on a Theme by Haydn a century later. Written for only eight instruments - two oboes, two horns, three bassoons and a double bass - it didn't need to be conducted, especially not with John Forster's flamboyance, with so much effort yielding so little. The dividends proved the same in Brahms' Symphony No4. Forster's interpretation would have been spot on if the work had been designed as an exercise in terraced dynamics. Unfortunately, it wasn't. Instead of a carousel of romantic colour and character in the opening movement, the stiff approach gave us a swatch of louds and softs but little else. The slow movement's gentle luminosity was lost, the scherzo's playful giocoso was more machismo and the finale's set of 30 variations rolled out not a gallery of individually styled miniatures but a lengthy scroll that didn't tell a story. The orchestra responded to Forster's tremulous left hand demanding surges of sound, but there are only so many times you can play that card in an evening.