Brighton-based label FatCat Records has a post-classical imprint - 130701. To appreciate the genre is to wrap your head around themes of minimalism, repetition and indeterminacy - the conversation between the performers, their instruments and the audience.

Pianist Dimitry Evgrafov made no show of arrival, unobtrusively taking his seat and allowing the chords to make the statement instead. Though epic-sounding in parts, each composition arrived at the same conclusion; a short, flat quarter note. Utilising synth drums and effects, Evgrafov and the machines created an often melancholic soundscape, encompassing both classical and EDM genres.

A lush string quartet accompanied pianist and composer Emilie Levienaise-Farrouch through a set that occasionally brought to mind the work of Yann Tiersen in feel and Mike Oldfield’s Tubular Bells in structure.

Levianaise-Farrouch worked her instrument percussively, and perhaps adhering to New Objectivism motifs, “loud” and “quiet” were distinctive though other shades somewhat absent; this work was upheld by emotive strings.

Finally, after some tech difficulty with an effects pedal that artist Resina was to use meticulously and ingeniously alongside her cello, St. Mark’s Spire filled to the rafters with looped, layered symphonies and strange arpeggios that drew cheers from a delighted audience.