Now that we are (at last) less diffident about our own music, English programmes are becoming increasingly popular.

The Goldfield, barely three years old as a group but of slightly riper years as individuals, are already specialists in this area. They appeared on Wednesday as a piano quintet.

To the advertised Ireland, Bridge and Elgar, they added a zesty string trio by William Alwyn, written in 1959. Its four movements are uneven, but the central two benefited from the Goldfield’s rhythmic vitality and precise chording respectively.

Elsewhere Alwyn’s deliberate severity was never less than absorbing: his day will come.

Bridge’s Piano Quintet, completed in 1912, stands fascinatingly with one foot in its own century and one in the 19th. The Goldfield brought warmth and passion, not just to its skittish central scherzo, but to its three adagios, and engineered a smooth accumulation of tension in the finale.

The whimsical changes in Ireland’s Second Piano Trio reflect its origins in the First World War. Its brooding opening bars colour the whole piece. Such was the Goldfield’s conviction that it emerged as a coherent set of variations.

In contrast, Elgar’s Piano Quintet is altogether sunnier, dating from the immediate post-First World War years. Here the group was especially alive to its spirit of dance. Claire Hammond worked wonders of restraint in the elaborate piano role.

The Adagio might have been less leisurely, but its ending was properly sinister. The Goldfield is a group to watch.