THE Britten Sinfonia, an ensemble of distinguished musicians conducted by Nicholas Cleobury, were the artistes at this concluding, and irresistibly attractive concert of the festival, which has been a glorious celebration of the arts.

The highlight was Power & Dominions by Roxanna Panufnik, commissioned jointly by Autumn in Malvern and Music at Oxford.

In two parts, the work was original in concept, and employed an innovative use of the solo harp, skilfully played by Catherine Benyon. Sometimes she was asked to hit the strings with her flat hand, or to pluck at fragments of melody.

A starkly imposing opening of harmonics from double-basses, progressed with unearthly sliding and gliding, which preceded percussive thrusts from the soloist. A multitude of crossed rhythms amidst the orchestra wove an atmospheric back drop, the low strings slipping and drifting around the pitch of their notes.

A vibraphone was added, which, together with some brilliant brass and stunning woodwind playing in the second section, had a magnetic effect. Remarkable use was made of another harp which sometimes shadowed, and at other times, complemented the soloist with arpeggio style of figures.

A most interesting new work, which demands further hearings.

And Birds are Still for strings, by Japanese Takashi Yoshimatsu, almost emanated from silence.

A continuous, long drawn bow by the viola, out of which grew mounting fervour, to die away again eventually, showed this to be a rare gem.

The Sinfonia exuded musicianship and disciplined execution throughout the concert, which also included a sumptuous and sparkling delivery of Moeran's Sinfonietta, Vaughan Williams' The Lark Ascending with orchestra leader Pauline Lowbury as soloist, and Tippett's Fantasia Concertante on a Theme of Corelli, its three soloists drawn from the orchestra, to give a polyphonically baroque reading of scintillating and meticulous precision.

JILL HOPKINS