It was all very Sixties, self-conscious, unfunny and embarrassing. Worst of all, the musical quotations were short and the players were never quite ready for them; the conductor, Ewan Anderson, pulled them together just as they were travelling back into atonal cacophony, and most of the references were lost.
There was some delight in seeing well-known Scottish musicians - the percussionist Pamella Dow, the trombonist John Kenny, the soprano Irene Drummond - making fools of themselves. This was a change from the worthy performances of earnest contemporary tracts for which the Paragon Ensemble is best known.
The relevance of this piece seemed to depend on its engagement with long-forgotten non-issues. 'Is music a language?' screamed Drummond. Mr Costinescu evidently thought not, and you could see why.Reuse content