If Mendelssohn was a portrait of politeness, Sergei Prokofiev struck like a serpent baring fangs in his iconoclastic Second Piano Concerto in G minor. This has become the signature piece of young piano virtuosos willing to hyperflex their muscles and raise the roof.
Even among overwrought perofrmances which are a norm, Hong Kong-born Chiyan Wong's account stood out for being vastly different and often revisionist.
How he stressed and stretched the opening movement's slow tempos, peppering it with ear-catching accents at unexpected places and dragging out the massive cadenza to almost eternity, was certain to perk one up.
His quickfired reflexes in the machine-gun like Scherzo - concluded within all of two minutes - was almost a given.
The rambunctious Intermezzo and tempestuous Finale gave him much opportunity to redefine the meaning of the word grotesque.
One suspects the enfant terrible in Prokofiev would not have minded at all. With excellent accounts on disc by youngsters Yuja Wang, Kirill Gerstein and Beatrice Rana available for reference, Wong is very much his own man with many valid things to say.
His encore, Liszt's late and bleak Nuages Gris (Grey Clouds) - also in G minor - and the very antithesis of the concerto, was also proof of unique thought processes at work.