A night of musical mastery with the Asian premiere of Sir Stephen Hough’s evocative piano concerto, and a commanding rendition of Saint-Saëns’s majestic Organ Symphony.

The Singapore Symphony Orchestra (SSO) welcomed audiences to an evening of elegance, energy, and emotion under the baton of Associate Conductor Rodolfo Barráez, featuring the Asian premiere of Sir Stephen Hough’s own Piano Concerto, The World of Yesterday. Completing the programme were Reznicek’s Overture to Donna Diana and Saint-Saëns’s Symphony No. 3 “Organ”, with Singaporean organist Isaac Lee joining the orchestra.

The concert opened with Reznicek’s Donna Diana Overture, a compact five-minute gem that demands precision, sparkle, and rhythmic drive. From the first bars, it was clear that the SSO was in excellent form. Barráez led with assurance, his gestures crisp and controlled, coaxing a spirited performance. A confident statement of intent for the evening.

As stagehands rolled out the Yamaha grand, anticipation rose for Sir Stephen Hough’s The World of Yesterday. Hough, calm yet focused, took a moment to centre himself before launching into a work that felt both nostalgic and vividly alive. The concerto, infused with the sensibility of early 20th-century waltzes and infused with Hough’s signature harmonic wit, unfolded like a cinematic journey through memory and emotion.

The interplay between soloist and orchestra was seamless—Hough’s crystalline phrasing and virtuosic poise were matched by the SSO’s attentive storytelling. There were moments of delicate intimacy—“imagining the baroness having afternoon tea on the grass,” as one might imagine—contrasted with surging grandeur that spoke of history, resilience, and rediscovery. Particularly striking was the duet between piano and xylophone, a playful and unexpected dialogue that highlighted Hough’s clever orchestration.

Watching Hough perform was itself an experience: his hands danced effortlessly across octaves, weaving arpeggios on the left while shaping melody on the right, every movement purposeful and precise. As the final notes faded, the audience was left with a sense of wistful satisfaction, an “unexpected finish” that invited quiet reflection. In The World of Yesterday, Hough offered not merely nostalgia, but a meditation on how we carry the past into the present, giving us courage to face tomorrow.

After intermission came the grandeur of Saint-Saëns’s Organ Symphony, one of the most beloved works in the orchestral canon. From his vantage high above the stage, organist Isaac Lee demonstrated impeccable timing and control, synchronizing with Barráez via a monitor—a feat of precision in itself. When the organ’s full sonority entered, it transformed the Esplanade Concert Hall into a cathedral of sound.

Barráez’s reading of the symphony balanced majesty with warmth, allowing the orchestra to breathe and bloom. The slow movement glowed with tranquillity, while the finale was pure splendour—the organ’s sustained pedal tones resonating through the hall, brass blazing, strings surging. It was a testament not only to the SSO’s artistry but to the mutual trust between conductor and musicians.

By the closing chords, the audience was applauding the performance that showed both technical excellence and emotional depth. It was an evening that reminded us why live music endures in its power to move, to unite, and to let us, perhaps briefly, glimpse the world of yesterday, and in so doing, get through the present.

Photo credits: Jack Yam / Singapore Symphony Orchestra

Stephen Hough Piano Concerto + Saint-Saëns Organ Symphony played on 7th November 2025 at the Esplanade Concert Hall. More information available here