Even without the fancy drink and the canapes, Oran Mor�s cocktail-hour concerts can be astonishing value for money. In the space of an hour, Monday�s event managed to include four soloists, a world premiere, bouquets and a big frock.

Star rating ****
Even without the fancy drink and the canapes, Oran Mor's cocktail-hour concerts can be astonishing value for money. In the space of an hour, Monday's event managed to include four soloists, a world premiere, bouquets and a big frock.

Were it not for the addition of an extra charity concert with cellist Karine Georgian next Monday, this would have been the finale to the season and it attracted a nearly full house, at least one of whom could be heard remarking that he wished they'd been there sooner.

The new music came from J Simon van der Walt, whose The Whirlies pitted his own prepared multiphonic scrabbling with table-top banjo ukulele and electronic gizmos against lush concert-orchestra strings - a collision only enhanced by the shattering of a glass behind the bar.

There was some theatre, too, in his intensity and the swaying of the cellists, in as perfect a musical encapsulation of the East Kilbride road system as I ever expect to hear.

That lush sound, augmented by winds, was the foundation for a beautifully played The Lark Ascending, with SPO leader Justine Watts as soloist, which opened the programme.

The Vaughan Williams was the best known of three solo vehicles from the twentieth century, of which Debussy's Danse sacree et danse profane with harpist Helen Thomson was the oldest, but arguably more modern-sounding than Respighi's Il Tramonto, with mezzo Carolyn Dobbin.

Usually heard as a string quartet with singer, this pocket Puccini setting of Shelley, in the language of his death-land, was another splendid Scottish Phil treat. A smart broadcaster would be recording some of this fine chamber group's varied repertoire