On day two of the Huddersfield Contemporary Music Festival, St Paul’s Hall was the venue for a lunchtime concert devoted entirely to the exploration of the trombone, both as a solo and an ensemble instrument, writes Spencer Allman.

The four items performed included two by this year’s Composer in Residence, Georg Haas.

First we heard Keren, for solo trombone, by the legendary Iannis Xenakis. There was a comical air about the work, its wonderful snarls, creaks and blasts sounding like some old liner headed for the scrapyard.

A polished recital, nonetheless.

Following a short piece by Haas, we were treated to an element of slapstick in Hautposaune by Swedish composer Anders Hillborg.

The outstanding soloist battled his way through the work, all the time up against a tape of some occasionally excruciating sound effects.

The main event was the Octet by Haas, written in 2015 and featuring the entire ensemble.

The sight of eight trombonists lined up in a semi-circle was a formidable one – like a parade of elephants at a watering hole.

A massive unison rasp gradually distilled into a sound world of captivating elegance.

There were hints of the start of Wagner’s Ring cycle, and then long, static passages that were almost sensuous, and that seemed to acknowledge a debt to Stockhausen (Stimmung, Adieu).

Towards the end I heard the groans of sea monsters and the baying of wolves – but this was a carnival of animals with souls, and this very lovely piece had a profound sadness to it.

Georg Haas has proven to be an excellent choice of featured composer at this year’s festival.