Audiences can be fickle. The Hallé’s latest programme featured one of the world’s most celebrated trumpeters, a UK premiere from one of the world’s most high-profile living composers, and one of this country’s most successful young conductors – yet the Bridgewater Hall yawned with empty seats. Whatever the reasons, those who decided against booking missed an exhilarating evening. It started politely enough, with the rollicking baroquery of Britten’s Courtly Dances from Gloriana. A set of Tudorbethan pastiches, these dances encourage orchestral good behaviour. But conductor Alpesh Chauhan also allowed glimpses of a harsher, modernist world outside in the viciously chirrupping winds and off-kilter repetitions of the central Morris Dance and the gleeful snaps and rattles of the closing Lavolta. A Hallé co-commission, Nico Muhly’s trumpet concerto Doom Painting was composed for Norwegian trumpeter Tine Thing Helseth and inspired by the instrument’s biblical roles. Muhly’s note on the piece points to distinct sections featuring the trumpet as a ceremonial instrument, as an expressive fixture of depictions of the apocalypse, and as a jubilant feature of the …