Under the direction of Gordon Bragg, who picked up a fiddle to lead from the front for Heinrich Biber's wonderfully colourful Battalia, every detail of their playing was sharp and clear in a programme that had plenty to listen for.
That music had been selected, Bragg explained, to appeal to the young people who are discovering music-making at Sistema Scotland's new Big Noise project in Glasgow's Govanhill, where the NYoS musicians had been in residence the previous week, working in primary schools and side-by-side in an ensemble with students from the original project in Stirling's Raploch. It was certainly a programme to enthuse new players, with the sonic baroque of Biber followed in the second half by the romance of Schubert's Second Symphony, in which occasional rough edges in tempi across the sections were probably only noticeable because of the excellence of the performances before.
They began with a very fine account of Mendelssohn's Hebrides Overture that made an old war horse sound wonderfully fresh. The real delight though was the Four Transylvanian Dances from Hungarian Sandor Veress, identified by Bragg as the missing link between Bartok and Ligeti, and whose pieces for the 19 strings featured fine solo playing from cellist Feargus Egan, Jonathan Penny on viola, and orchestra leader Katie Foster.
With wind soloists Robert Digney and Ewan Zuckert (clarinets) and Siobhan Parker (oboe) also on form, this edition of the Camerata is a top chamber orchestra.