Ever been to Hogwarts and Tatooine? We have. Standing in the Concert Hall at Hong Kong's Cultural Centre was like being transported into those fictional Harry Potter and Star Wars worlds as we waited for the Hong Kong Philharmonic to play its Tribute to John Williams show in celebration of the great film score composer's 80th birthday. The concert was a sell-out and the atmosphere was electric. It was a night devoted to one of the most celebrated masters of movie music - a true indulgence in soundtracks that remain classics in film history. However, a concert like this was difficult to pull off. With the audience knowing almost every note to come, it was a challenge to play without sounding clichéd or lacking. But this was HKPO. And, as expected, they delivered a splendid performance.

The concert started off with a surge of excitement - Was it a bird? Was it a plane? No, it was the theme to Superman. The brass rang out majestically before it surged into the gentler staccatos of the strings. Maestro Richard Kaufman was completely was conducting completely in his comfort zone - his pleasure and familiarity with the material was obvious and showing. He was an incredible pick for this concert, having devoted his life to film music, as well as working with Williams countless times as a violinist.

Next was the goose bump inducing theme to Jurassic Park, the strings were excellent, but the control on the drops to the tender, sweeping moments were more satisfying than the climaxes - the smallest differences between pianissimo and mezzo-piano stood out uncomfortably. At the beginning, each section performed brilliantly, but, with the high moments, they were vying for attention. Having delivered a solid start, the orchestra really pulled out the stops. The theme from Close Encounters of the Third Kind was a real stand-out piece. The dissonance started and stayed at the same suspenseful subtlety throughout. Williams masters the emotion of wonder in a way unparallelled by any other film composer, with a gently introduced classic five-note motif.

Though lesser known, it was no less beautiful - next up was If We Were In Love from a Hollywood bomb and Pavarotti's only venture into film, Yes Giorgio. Ruth Bell performed splendidly in her oboe solo, and the orchestra played it as a question, marked with tentative curiosity and longing, a conversation pure and idealistic about love.

Then finally it was here! Star Wars! The arrangement was cleverly done, blending the opening theme, Luke and Leia's theme, and the ending credits for an all-in-one. The tingling of excitement was palpable, however maybe marred by the same vying for attention among the sections. Musically, it could have been better. That being said, the second part of the concert launched itself effortlessly back into the sweeping emotions of Williams' music. Certain chuckles were expected with Jaws - isn't it just those two notes? But the orchestra threw themselves into the song. It was terrifying, as the both the brass, the double bass and the cellists were spot-on with their staccatos, and the final crescendo was breathtaking.

The concert ended perfectly with the gorgeous melodies of ET before a sneaky encore, the march from 1941. At this point, it was obvious they were playing for their own pure - and deserved - enjoyment.

And finally. Why the hell not? They played Star Wars again. And, this time round, the fanfares and the surges were spot on. A perfect ending to an epic night.

Louise Choi