Fyfe Dangerfield lists his main influences as the Beatles, Bacharach and birdsong. Also Charles Ives, which spoils the alliteration but indicates that the founder of the band Guillemots is no ordinary indie rock musician.

A classically trained prodigy who played piano from the age of four, Dangerfield grew up listening to the City of Birmingham Symphony Orchestra, and has always dreamed of having a work performed by them. The dream has now been realised as part of the celebrations to mark the reopening of the city's Victorian town hall.

Initially commissioned to produce 10 minutes of music, Dangerfield got carried away and came up with half an hour. It conjures dire reminiscences of William Orbit's preposterously inflated Orchestral Suite, performed at the Manchester international festival this year. Yet Dangerfield has a confident, if erratic, sense of structure and is more than capable of holding attention.

The piece, In Wait, is a free-form cello concerto with elements of improvised jazz. A lone cellist - the dramatically expressive Eduardo Vassallo - winds a quiet, introverted course subject to periodic orchestral ambush. There are parts that resemble Prokofiev's galumphing march from The Love for Three Oranges, others that suggest Coltrane riffing over Ravel's Bolero. Yet Dangerfield combines epic wackiness with a sophisticated understanding of orchestral textures - it is a remarkably audacious debut for any 27-year-old composer, whether they come attached to a maverick art-rock band or not.

After the break, the band join the CBSO under Nick Ingman for an orchestrally expanded selection of the group's bizarrely scored repertoire (MC Lord Magrao makes a clattering contribution on typewriter). For the finale, Dangerfield runs off and re-emerges in the organ loft to pound away at the town hall's 6,000-pipe monster. The words "kid" and "toyshop" come to mind.