Conductor Roberto Forés Veses and the Sinfonietta illuminated new connections between Beethoven's Overture No 3 and Sibelius' Symphony No 4. The bleak, suspenseful atmospheres were surprisingly kindred, separated by Schumann's buoyant Piano Concerto in A minor.

Beethoven's Overture No 3 was intended as the opener for his opera , but is now a stand-alone piece. Fidelio is about imprisonment, and the long, downward scales made a picture of the descent to a dark, damp dungeon. Forés Veses took a slow tempo and held in the energy through the tense harmonies and long chains of phrases.

Sweet flute notes opening a bright allegro theme dissipated the despondent mood. The orchestra and Forés Veses had a good rapport, and they played Beethoven's tricky rhythms neatly. Just before the ending quick scales ran up and down a merry-go-round, finally hopping off for the final brilliant statement.

Sibelius' symphony did not end in triumph. The whole piece had a sense of hovering and searching. The stark low strings and woodwinds in the first notes were sobering, and the cello solo was played with dark intensity by Chang Pei-chieh. The brass section was a solid core in unsettled chords that slowly resolved, in horn calls and in full-throated chorales. But the despairing mood prevailed, and radiant moments seemed fleeting.