Sibelius was a superb symphonist, but be honest: When's the last time the end of one of his symphonies had you saying, "What, it's over already?"

Stefan Solyom's performance of Sibelius' Symphony No. 1 with the Utah Symphony on Friday was one such occasion. The 29-year-old conductor, born in Sweden and trained in Finland, led the Sibelius work with genuine musicality and unfailing momentum.

Solyom's podium manner was animated, but never gratuitously so. His insightful sense of the piece's overall architecture yielded a masterfully phrased performance. The orchestra played with discipline and impressive tonal shading, responding especially well to the conductor's organic tempo shifts. The second movement was particularly arresting; a melancholy beauty hung almost palpably over the hall. Clarinetist Tad Calcara earned special notice with his soulful clarinet solo that opened the symphony. Timpanist George Brown and harpist Louise Vickerman also got a workout and met the challenge heroically.

Norwegian pianist Gunilla Süssmann was the evening's soloist in Mozart's C Major Piano Concerto, K. 503 -- one of the composer's last and grandest concertos for the instrument. Süssmann gave a performance of abundant lyricism and charm, showing off an impressive command of musical coloration. Her expert phrasing gave the sense that she was confiding a delicious secret. Her interplay with the woodwind section was especially charming. Solyom conducted the orchestra with utter serenity in the slow movement, but showed off a hint of mischief in the faster movements.

Benjamin Britten's Sinfonietta, the British composer's first published work, opened the program. Clearly, Britten's genius manifested itself early. This piquant little piece, scored for 10 instruments, was an ideal concert opener. Solyom led the small ensemble in a fresh and strongly rhythmic performance.

Catherine Reese Newton is a music critic. Contact her at creese@sltrib.com or 801-257-8616. Send comments about this review to livingeditor@sltrib.com.