This was a concert of Romantic excess, soaring melodies, thunderous climaxes, and tender, breathtaking moments. The links in the program were clear: the 20th century modernist Olivier Messiaen and 19th century all-rounder Camille Saint-Saëns were both French and both renowned organists, while Saint-Saëns (1835–1921) and the German composer Max Bruch (1838–1920) were practically exact contemporaries.

The opening piece, The Forgotten Offerings, was an early work of Messiaen, but already showing his personal characteristics. It takes the form of a chorale, all tonal chords but unanchored by a key, enclosing a sudden central section of punchy rhythms and strong accents. The chorale returns, becoming softer and softer, finally concluding in complete silence. As ever, the audience took this as a cue to cough, clear their throats, and drop their phones on the floor. Other than that, the performance was immaculate in the gradation of dynamics, and the force of the central section. Alexander Soddy, a clear, very physical conductor, was in complete control.

María Dueñas and trhe Sydney Symphony Orchestra. Photo © Jay Patel.

Max Bruch’s Violin Concerto No. 1 in G Minor (1866) is the...