Prokofiev was out of favour with the Soviet authorities when his Sixth Symphony was first performed in 1947, and although the initial critical reception was good, the Party soon clamped down, and for many years the work was effectively buried. Recently, however, many commentators have come to see it as Prokofiev's greatest symphony, and one can see why, for although the slow movement and finale are overextended, it is undeniably the deepest and most tragic of the seven.

The Ulster Orchestra under Takuo Yuasa gave it a clear, forceful performance. One sometimes felt the need for a larger string section, but the last movement was brilliantly played. The Strauss medley triggered one of the present writer's allergies, and its saccharine style certainly does not show to advantage in comparison with the Prokofiev, but it too was cleanly played.

The programme told us that the very young violinist Sarah Chang has played with an impressive list of conductors and orchestras, but otherwise gave no information about her background. Her tone is not large, but it is sweet and fine, and her playing was technically immaculate.

More importantly, every phrase in the Mendelssohn concerto was shaped with feeling. The opening theme of the slow movement was played with an obtrusively slow and wide vibrato, but on its reappearance Chang spun a silvery thread of tone. This performance showed what a thoughtful player can do with a very familiar work.