By DOUGLAS COOKSEY

Very occasionally, one is privileged to hear a concert that comes as close to perfection as one has any right to expect in an imperfect world. This was one of these rare events...

Elgar and Sibelius were both string players; in the first decade of the last century each composer contributed one great violin concerto, both written with innate understanding. Midori may have been some way from the romantic effusions that this work is frequently subjected, but it was guided by a keen intelligence. She has exceptional control of her bowing arm, which enables her to play really softly - her first entry stole in on tiptoe on the finest web of sound - and her intonation, even at the first movement's close, was well-nigh immaculate...

This is music which will sustain a wide variety of approaches, provided the soloist's narration is gripping. Midori was so satisfying: expansive in the first movement, rapt in the slow movement, and pure quicksilver in the finale. Colin Davis and the LSO provided a level of support most soloists could only dream of, restrained where necessary but opening out splendidly in the climaxes.