IT was interesting to note how much of this exciting programme drew inspiration from extra-musical sources.

Philip Cashian’s commissioned piece, Firewheel, was a response to the paintings of British artist Bryan Wynter. This was an impressively crafted piece with repetitive musical dialogue which combined, dovetailed, to create an extraordinary tapestry of musical narrative.

Martin Scheuregger’s The Four Last Things was a response to the work of Hieronymus Bosch – a highly individual piece, episodic but with a very clear, fulfilling line of engagement.

Stef Conner’s haunting The Shipwrecked Ghost is a retelling of an English folk song. As the song unfolded, the instrumentalists constantly enriched the story, both commenting and offering support. Even Patrick John Jones’s dramatically assured work, Uhtceare, drew from a slightly unsettling response to the composer’s experience as a "wheezing asthmatic child".

Christopher Leedham’s piece, Möbius Sticks, on the other hand, was a purely musical affair and a persuasive, well crafted one. Episodic, expressive and beautifully performed.

Similarly, Benjamin Gait’s distinctive Three Inventions was a straightforward musical narrative: three contrasting solo melodies for flute, clarinet and vibraphone with the instruments taking turns to accompany the soloist. A very democratic, refined musical essay with refreshing economy and a very welcome shadow of Webern ever present.

Threaded through the programme was a series of traditional folk songs, beautifully sung by Stef Conner, dressed in a variety of contemporary colours. This was an impressive showcase of talented composers, the music varied and distinctly individual. The playing by the group Dark Inventions was exceptional.