SPIRE Live was a one-off; a cocktail of singers, musicians, composers, electronics, the massive Minster concert space devoid of fixed seating, audiences sitting, standing, strolling around a la rock concert.

And the programme took risks. Among the most successful aspects were the solo electronic contributions.

Christian Fennesz fused organ tones and electronics to create a wonderful spatial sound - bordering on physical in the intimate Chapter House acoustic - which was both haunting and strangely tuneful.

BJNilsen produced a very effective, introspective, disciplined piece: pulsating electronic organ samples blended with the gentlest of real-time organ interaction.

Philip Jeck's was perhaps the most striking and original; an impressive essay of bubbling contrapuntal phases, rock influences, rich ideas, wit and imaginative transformations.

Giacinto Scelsi is an outstanding composer and his distinctive, uncompromising meditative organ piece, In Nomine Lucis, was evocatively performed by Charles Matthews.

So too Marcus Davidson's interpretation of Gorecki's Kantata, a surprisingly elemental sound-world of chunky, dissonant chord clusters framing a melody resembling an electronic didgeridoo with attitude.

On the downside was Thijs van Leer's La Cathedrale de Strasbourg (arranged by Marcus Davidson), which was so smugly self-indulgent as to be simply embarrassing.

Even the intervals were creative: a liturgical dramatic plainchant eloquently delivered by tenor John Beaumont. The singer was joined by Robert Millner (tenor) and Amy Moore (soprano) for a delightful closing performance of Philippe de Vitry's Adesto. This City of Festivals continues to deliver diverse and innovative events, and all credit to SightSonic, Touch and the University of York, who made this one possible.


Steve Crowther