Daniel Phillips is in demigod position. His left hand is on violin, his right is suspended with bow at 12 like a wand - he swoops down, creating magic. It's the middle of the Brahms trio for violin, horn and piano and the audience at the Hilton Hotel is momentarily holding in their coughs and cell -phone interruptions.

Phillips is doing Brahms justice at this Saturday night recital which saw Americans and Jamaicans performing classics. The drawing card for this $5,000 charity event was performances by graduates of the prestigious Juilliard School of Music.

Some of the performers at the Evening of Classics

Admission to Julliard is so challenging that the good need not apply. Those lucky (read, gifted) enough to get a call back must perform for instance: A 19th or 20th century concerto; two contrasting movements from an unaccompanied Bach sonata or partita; major and minor scales and arpeggios in three octaves , but they want it done using double-stops; and one Paganini caprice. Paganini -18th century, unearthly violinist/composer - is what Bob is to reggae. His three-minute espresso-inspired caprices are so demanding violinists love to hate them. He made 24, each testing a specific technique on the violin.

If this sounds confusing or complicated, it has achieved its intent. Students have to be exceptional even before entry. "[We] want you to think in music, not just about music", said Juilliard about its matriculation.

So with that in context, these graduates were humbly performing the Brahms movement: Phillips on violin; William Purvis on French horn; and his wife Mihae Lee on piano.

Phillips' part is the most dominant, he plays steady and secure (our ears are safe in his scalar ascensions). He is a stocky man who dwarfs his wife. But when he plays he towers, never dipping his back to reach the high notes. Rather, his trademark Santa beard simply hugs his instrument tighter. His bouncing bow technique within the finale is rhythmic and crisp. There was no chocking his instrument, inviting the listener to dance with this man who once recorded with classical superstar Yo-Yo Ma.

"Thank God, just two more pieces," gasped a young voice behind me. "Tedious", a companion added about this 19th-century composition. Ok, Brahms might have been a bit heady for our Mavado/Kartel generation, but all must agree that the movement's shift from a majestic major to a haunting minor key had an effect. No? Well, when Phillips' violin wept, it inspired a baby to follow.

In the movement, the French horns largely support the violin. Such a pity, as Purvis' skill was never fully revealed - a man who could boast about his over 40 recordings, plus role as co-coordinator of the New York Woodwind Quintet. As for Lee, once a child prodigy, she played dutifully laying the foundation for the movements shifts and turns. Her skill also was never fully revealed because of the choice of music.

Earlier, Phillip's wife, two-time Grammy nominated flautist, Tara Helen O'Connor, played Mozart and Fraue with Lee on piano. O'Connor was fluid on stage. In introducing Gabriel Faure's fantasie, she swayed like a snake, then froze when blowing the theme's defining accidental. She was at one with her flute and her playing silenced the coughing crowd. However, a cellphone proudly rang; thankfully it was 10 seconds after her final note of the fantasie.

O'Connor's flute is a subtle gold. It's said to be a 14k Gold Brannen-Cooper, a prized instrument, which is a bit harder to play but sweeter on the ears. She could easily get a 7-Series BMW if she traded it in. Her husband's violin is a little trickier, (there isn't any hints about it) but it certainly isn't cheap. Visually, it shimmers, but upon closer inspection there are slight nicks, and a section close to the fingerboard is faded, implying age. The violin's deep steady chords are lush and yummy. No other violin that night could compare.

And that was partially the dilemma, as the organisers started the show with the Juilliard graduates. They performed for 75 minutes, encore included. The remaining two hours were devoted mostly to student musicians. So, the programme order created an anti-climax. But no one complained, in fact the youth performers got smiles and admiration. And rightly so, as the night belonged to them.

It was the first fundraiser for the Jamaica Early Childhood Development Foundation (JECDF), a recently formed non-profit organisation seeking to protect and nurture Jamaica's youth. The prominence of the organisation is bolstered by its chairperson, Lorna Golding, wife of prime-minister Bruce Golding.

Inspiring youth performances included Nadje Leslie, Jessica Yap, Mijane and seven-year-old Ellinor D'Melon Moraguez. Incidentally Moraguez got the only standing ovation for the night. There was also Dwayne Foster on sax, Fillicia Morrison, soprano and Edna Manley musicians/singers headed by Ibo Cooper.

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