WHILE not obscure by any stretch of the imagination, it is refreshing to see a line-up which is free of the more populist names in classical music.

The concert opens with Takemitsu’s Twill by Twilight, a mysterious and airy piece performed by an orchestra so large that it packs the Bridgewater Hall’s stage tighter than a Tokyo subway train, and its slow string crescendos, delicately woven with ethereal percussion, make an impressive introduction to the evening’s entertainment.

Continuing in an apparently logical temporal progression, twilight turns into night with Britten’s Nocturne.

Arguably the least accessible of the three pieces on display, Nocturne, with its unconventional melodies, is a chance to appreciate the composer’s artistry rather than sit back and enjoy the ride.

The dreamlike atmosphere is one of unsettled sleep and haunting images, contrasting sharply with the preceding serenity of Takemitsu.

Tenor Ian Bostridge puts in an impassioned performance, singing excerpts from various poems, accompanied by a mournful refrain, and anyone who can sing the line ‘midnight’s bell goes ting, ting, ting, ting, ting’ and make it sound atmospheric is worthy of admiration any day of the week.

Sibelius’ funereal fourth symphony would perhaps be the obvious progression, continuing the musical descent into darkness, but it is his cheerier second symphony which rounds off the evening.

Certainly the highlight of the night, it is easy to hear the tone poem origins, laden as it is with evocative imagery of myth and legend.

Powerful brass and strings mean that even the impressive sonic sculpting of the Bridgewater Hall cannot prevent some resonance, but this is a negligible distraction from what is otherwise a faultless aural experience.

It is good to see an audience encompassing all ages, but it is criminal that, at a performance as good as this, and in such a high quality venue, many of the seats should remain empty.

There’s plenty more on offer over the next year, so grab a programme and get down there.