Tchaikovsky’s song-like Adante was exquisite, Chua in symbiotic blend with the orchestra’s woodwind; the high-powered finale, too, with maestra Sung at the helm, allowed moments of spellbinding tenderness.

Chua’s encore was a delight: “Amazing Grace” spun from bluesy wistfulness to virtuoso hoe-down.

All this was particularly welcome after the evening’s overture – the exceedingly dull Morning, Noon and Night in Vienna by Franz von Suppe, lightweight Viennese fare, rescued by Ashley Brown’s elegant solo cello.

After interval, the emphasis was on more stylish humour.

Haydn’s Symphony no 93 is a charming specimen of this composer’s bracing and genial wit. With a few cheeky arpeggios in the first movement, the woodwind stepped up for an Allegro peppered with playful echoes and diversions.

Scaled down orchestral forces balanced earthy vigour with classical refinement, the slow movement gracefully introduced by string quartet. A striding minuet and runaway finale pursued an infectious mood of irrepressible jollity.

The Divertimento from Stravinsky’s ballet The Fairy’s Kiss shares much of Haydn’s bonhomie and, with its many quotations from Tchaikovsky, it was an extremely thoughtful complement to a much-enjoyed concerto.

Here we were treated to the precision and finesse of the best chamber music, as the musicians negotiated Stravinsky’s swerving rhythms and shifting textures, their palpable pleasure in playing the score reflecting the composer’s joy in paying tribute to one of his musical heroes.