Beethoven’s King Stephen Overture was written as part of a commission for incidental music to August von Kotzebue’s play Konig Stephan. From a rhythmically unsettled opening the orchestra settled in to an elegant performance that was notable for some lovely solo lines from woodwind and horns, stylish phrasing and clarity of voices. Sadly, the rhythmic stability persisted throughout, and at the close of the piece I was left wanting more: more contrasts, more drama, more rhythmic energy.

Jonathan Békés. Photo supplied

Schubert’s Third Symphony was again notable for beautiful woodwind solos and elegant phrasing. The clarity of individual voices was impressive, but in the outer movements a lack of articulation detracted from the overall energy. I loved the conversational quality of the Menuetto – a lovely reminder that words and music are so often intertwined in Schubert’s music, but in general there seemed to be a lack of emotional commitment, from both orchestra and conductor, that was disappointing.

In contrast to the first half of the concert, I’m not sure I have words to do justice to Jonathan Békés or the TSO in Elgar’s Cello Concerto. Békés had me hooked...