After the ceremonial Adagio introduction, Haydn’s Symphony No 7 burst into life in the hands of a reduced-forces Sydney Symphony last night, led by concertmaster Andrew Haveron rather than a conductor. In the intimate space of the City Recital Hall the details of the ensemble shone through in a buzzing, energetic accounting of Le Midi (Noon), the middle of the three ‘time of day’ symphonies Haydn used to show off the musicians he had under his command in his new posting as Vice-Kapellmeister to the Esterházy court.

Bright-toned solo lines from Haveron and darker, sonorous cello lines from Umberto Clerici kept the first movement powering forward, before Haveron gave the vocal-like recitative part in the second movement an insistent, passionate freedom. Haveron and Clerici had some stunning duet passages, which they handled with refined, complementary sounds and an easy ensemble. Haydn shares the love around, showing off the flutes with some arcing duet lines before the horns get the spotlight in the Menuetto and Kees Boersma delivered some vigorous solo double bass melodies. It was the flute’s turn in the finale, Carolyn Harris dispatching the lively solos with panache against the flurries of strings. This was the SSO in fantastic...