All those who remember Lara Melda's appearance with the Watford Philharmonic Society here some 18 months ago - who could forget it? - will have rejoiced, without surprise, that soon afterwards she became the BBC Young Musician of the Year.

I recall hearing Myra Hess playing Grieg's Piano Concert in A minor in this hall in, I think, 1947. Now that we have heard it played here by Lara, she (and we) can confidently look forward to her similarly brilliant career.

This work is an outstanding example of the mid-19th century virtuoso concerto for piano and orchestra. Spectacular pianism, harmonic and rhythmical impact, suggestions of folk music, ingenious orchestration and varied melodies that develop from simplicity to rhapsody - it has them all.

In every way, remarkably at the age of 17, Lara appears at ease; though at any age such competence and control come of dedication and hard work. She has faultless classical technique - unlike those distracting exhibitionists who crouch over the keyboard and wave their arms about. Learners should observe her pedalling and well-judged pauses. Her charm of manner is not the least of her assets. Unfortunately the piano was not very suitable.

Grieg did little large-scale orchestral writing. Naturally, in this his only concerto, the piano predominates. All that an orchestra need do is provide an agreeable partnership. For this, with the skilled conducting of Terry Edwards, the Watford Philharmonic Orchestra was adequate. The horns, for instance, did not always support the soloist reliably.

No doubt rehearsals had concentrated on the Grieg, so the rest of the programme suffered. It began with the overture and other extracts from Wagner's opera Die Meistersinger. This was untidy. Like many amateur bodies, the Watford Philharmonic Choir has large sections of women's voices and not enough men to match them.

After the interval came the well known motet Lobet den Herrn by JS Bach: a very different style and period, but liable to the same problems. The Magnificat in D major by Bach requires a five-part choir with orchestra: they were overstretched. The loss of ensemble was sometimes painful. The five soloists were all quite young; among them, perhaps it was Nathalie Chalkley, Sónia Grané (sopranos) and Frederick Long (bass) whose singing gave most pleasure. This was an ambitious performance to mark the society's return to The Colosseum after its refurbishment.

Graham Mordue