“Emotionally, it’s right off the top of the thermometer,” is how Peter Hill, this afternoon’s pianist, describes the music of Olivier Messiaen in his pre-concert talk. Even to the untrained ear, it is obvious that emotion is something that players from the Scottish Chamber Orchestra have in abundance this afternoon, as they present 'Quartet for the end of Time' in the city’s elegant Queen’s Hall.

From the opening, all four players project their great passion through what can easily be described as quintessentially French music. Whilst displaying great unity as an ensemble, solo passages allow great enthusiasm to shine through from violinist Christopher George, clarinettist Maximiliano Martin, and cellist David Watkin. Take the third movement – the unaccompanied tones of the clarinet fill the hall with ease. Despite some minor exceptions, Martin is capable of matching the quietest imaginable resonances with ringing crescendos and racing scale passages.

The lengthy lyrical phrases of the fifth movement demand much expression from the cello, a challenge to which Watkin rises effortlessly, portraying his energy visually as well as audibly. Last but not least, the violin has a chance to sing out, and its melody contrasts well with the cello solo with its more subdued, relaxing manner. Messiaen's abstract melodies ring throughout the entire hall, whilst towards the end the music descends from its intense peak with singing high notes growing gradually quieter. The soft and ardently delivered piano accompaniment adds to this descent. It is no exaggeration to say that as the final harmonic dies away peacefully, a pin could be heard dropping anywhere in the sizeable hall.

Say what you like about contemporary music, there are few better ways to spend a Sunday afternoon.