DURING Sunday evening's concert, The Chandos, under their conductor Michael Lloyd (leader: Edward Bale), gave plenty of opportunity for the very large orchestra to be heard in its full kaleidoscopical range. All the works performed were rich in texture, and exciting in instrumental combinations.

Most interesting perhaps, was The Chairman Dances, a Foxtrot for Orchestra, composed in 1947 by John Adams, who hails from Worcester, Massachusetts. Putting aside the operatic connections, it is a marvellous example of metronomic invention. The essential ingredient for a convincing performance is a perfectly regulated beat - no vagaries can be allowed here - and the orchestra achieved this splendidly.

Beginning with a rhythmic throbbing form the woodwind, different groups of instruments gradually joined in, building up wonderful palettes of orchestra colour.

Brass and percussion (including a resonant xylophone) were all caught up in many and varied cross-rhythms and syncopated beats. Momentum increased: it was thrilling. Eventually calmness evolved; instruments dropped out, until a few single beats only were heard - then silence! This was a stimulating piece.

Till Eulenspiegel's Merry Pranks, Richard Strauss's symphonic tone poem, its recurring French horn theme punctuating the trickster's games, proved to a field day for the percussion and brass.

Another symphonic poem, The Fountains of Rome by Respighi, created a highly charged atmosphere; various solos from the wood-wind section and the addition of two harps produced beautifully lush orchestration. The tolling bell in conclusion was most effective.

Rachmaninov's Symphonic Dances, using a solo saxophone to add pathos to the second movement, completed the programme.