The three ensembles then combined for Kate Moore’s The Dam for 12 instrumentalists, which began with fidgety motives on viola, cello and percussion evoking insistently busy insects by a waterhole.

Drawing on techniques of minimalism and ambient styles, Moore’s fifteen-minute work was a series of evolving, metrically modulating sections in which a texture would be established through repeating evolving patterns until a new rhythm emerged and started to dominate, dragging the mind into hearing the patterns in a new speed or context.

The shifts in pace provided a change in perspective, as though constantly realising one’s perceptions are part of something larger.

The final work, Natasha Anderson’s Cleave for 12 players and electronically manipulated pre-sampled sounds was also based on evolving textures and soundscapes, defined in her case by layered timbres and elusive sonic material.

Cast in seven continuous sections, the work began with wispy whistling, sometimes screeching, electronic sounds against clanging instrumental chords in ragged solemn procession.

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In the next two sections the electronic element became more distant and the instrumental component was slowed and extended until things quickened in the fourth section leading to the climactic fifth part, comprising rapid vibration and shrill intensity at high pitch and volume.

The sixth section switched to slower sepulchral depth and the work finished with iridescent cicada-like sounds bringing to mind the reference to the natural world at the opening of Moore’s piece.