With Bell as soloist in his own commission, there were neither bells nor whistles.

Eschewing the pomp of a rousing overture, The Elements has a spiritual beginning, Bell’s finely focused violin sound producing a meditative effect as it hovered above an ostinato accompaniment in Pulitzer Prize-winning composer Kevin Puts’ “Earth” movement.

A lyrical exchange with the violins and dreamlike contributions from the harp imparted a serenity that was capped off by the soloist’s impeccably placed final high harmonics.

Not well placed or peaceful, however, were the handful of latecomers (with a toddler in tow) who were ushered awkwardly into the upper balcony between “Earth” and “Water”.

But after everyone settled down, “Water” by acclaimed bassist and composer Edgar Meyer flowed gently but forcefully. A rain stick enhanced the effect in places, and Meyer’s specific vision of being a particle of water in a high South American waterfall was well realised in the orchestra, with evocative tumbling movements.

Interjections by the brass section were suitably penetrating, but the cellos needed more beefiness to carry in the hall.

Composer Jake Heggie, known for his opera Dead Man Walking, contributed the “Fire” element. Bell played with energy and finesse right from the initial spark. In this movement (reminiscent of Khatchaturian’s Violin Concerto) even the edges sounded polished in his hands.

Perhaps Heggie’s programme note – “We try to tame and contain it (fire), but it can quickly run out of control” – was taken too literally later on when the tambourine couldn’t keep up with the sprinting soloist. The final bars were rocky, but then again, as the composer also mentioned, fire “is part of a beautiful, inexplicable chaos”.

In contrast, “Air” by the Pulitzer Prize- and Grammy Award-winning composer Jennifer Higdon was quietly reflective. Meditative sound waves from the percussion and a dreamlike passage between celesta and violins provided a plush carpet for Bell’s enchanting – often vibrato-free – lines to unfold.

Composer and violinist Jessie Montgomery’s “Space” was a fascinating melodic journey full of ebb and flow, with passages referencing previous elements while creating soundscapes of great expanse. A segue from “Space” back to “Earth” saw Bell enjoying the development of Puts’ initial ideas into a more concerto-like form for the work’s conclusion.

An the exciting reading of Tchaikovsky’s Symphony No 4 (the first manifestation of fate in the Russian’s final trilogy of symphonies) proved one for the books and an undeniable highlight of music director Jaap van Zweden’s tenure at the HK Phil.

The opening fate motif from the brass section was superb and terrifying. The sheer urgency of this alarming “summons” set off an infectious agitation throughout the first movement.

When relief came in the “Andantino”, a hint of exhaustion in Michael Wilson’s lovely solo oboe felt appropriate. The strings, in unison, conjured a nostalgic whiff of old Russia, and the gorgeous hushed playing in the first violins as they accompanied Benjamin Moermond’s warm bassoon tone was a treat.

Nor was there a pluck out of place in the “Scherzo: Pizzicato ostinato”. Hairpin crescendos and diminuendos were phrased as one, following Van Zweden’s baton.

Fittingly, the “Allegro con fuoco” finale was fast, furious and full of fire. When the fate motif returned in full force, the precise attack from the trombones and tuba was stunning, as was Nitiphum Bamrungbanthum’s spot-on trumpet playing.

Bravi tutti! This was a feast of fabulous playing.

“Season Opening – Jaap & Joshua Bell”, Hong Kong Philharmonic Orchestra, Concert Hall, Hong Kong Cultural Centre. Reviewed: Sept. 9 matinee.