THERE are many unusual aspects about the annual North York Moors Chamber Music Festival but the most striking is that, though the music is announced in advance, the performers' names are only posted at each venue.

Top-notch professionals with often stressful solo careers are invited by cellist Jamie Walton, the festival's artistic director, to give repertoire they really enjoy in glorious, relaxed locations around the fringes of the moors. Their enthusiasm is invariably infectious.

Certainly that was true of Sunday afternoon's opening to this 8th festival, which is centred around Schumann: A Genius Revealed. Each event pinpoints an aspect of the composer's musical personality. Exuberance bubbles over in his Piano Quintet, which when given alongside Schubert's Trout Quintet already makes for an unmissable programme. Throw in some rare Mendelssohn and a Schumann piano cycle and you have riches galore.

Katya Apekisheva's account of Kinderszenen (Scenes From Childhood) made a multi-coloured opener. She revealed the full extent of her pianism in The Trout, which was so sensitively tackled by all five players that Schubert's mastery of balance gleamed brightly through its witty musical dialogue.

Mendelssohn was barely 15 when he wrote his Piano Sextet, which includes two violas and double bass. Its precocious panache was fun, virtually a piano concerto for Adam Johnson.

Not half as satisfying, though, as Schumann's Quintet, where the players' hearts were on their sleeves, brilliantly reflecting the composer's wayward temperament.

The festival continues until August 27; northyorkmoorsfestival.com