WHEN is a concert not a concert? When it is a “sound and music experience” with a sensory tour and a sensational performance to follow.

Welcome to Resonances, the latest creative project from SoundUK, a pioneering organisation dedicated to promoting new music in novel ways – and so hands-on that SoundUK’s Maija Handover turned the sheets for Monday’s soloist, cellist Natalie Clein.

The progressive Clein is “up for any venue and any concert situation”, and so Resonances is taking her to four grand English houses this month for exploratory evenings that combine SoundUK’s new sound installation with her 50-minute solo fireworks.

On Monday, both cello music and Nunnington Hall were shown in a new light, especially if you attended the 8.30pm “experience”, rather than the earlier 6pm tour. The slow fade to dusk benefited Matthew Waterfield’s lighting, complementing Matthew Fairclough’s immersive installation and the recorded words of Jeannette Winterton’s Strange Time, voiced by students from Drama Centre, London. The effect was to bring the rooms and their sense of history alive, just as Simon Fisher Turner’s crepuscular installation The Vanishing Walls did in the Stone Hall.

After an hour’s atmospheric, contemplative meandering through the drawing room, bedrooms and beyond, everyone gathered in the up-lit Oak Room for the Clein climax. She likes to perform in “concentrated silence”, all the better for hearing her intense breathing as the sparks flew in Thomas Larcher’s Sonata, by way of contrast with the sad constraint and wish for escape in Poco & The Cage, a new commission from the Guillemots’ classically trained front-man Fyfe Dangerfield. To book-end these new works, what better than Bach suites: Clein in retro cello heaven.