Timelessly This - Ian Wilson

How to Make the Waters Sound - Deirdre Gribbin

The Trilling Wire - Katherine Norman

Into the Wordless - Jane O'Leary

Concorde's Sunday lunchtime concert at the Hugh Lane Gallery featured four works, all written within the last six years. Jane O'Leary, Concorde's director, was right in saying that each was essentially reflective. There was no really fast music, and each piece invited contemplation, either musical or extra-musical.

Ian Wilson's Timelessly This (1992) for clarinet (Paul Roe), violin (Alan Smale), cello (David James) and piano (Jane O'Leary), was the best-known piece, having been recorded by Concorde. Its slow-moving, rhapsodic rhythms and sometimes-opulent harmonies are inspired by ancient standing stones. Deirdre Gribbin's How to Make the Waters Sound (1997) for violin, cello and piano, springs from a mix of Joycean and Buddhist ideas. Its beautifully coloured, layered scoring made me want to hear it again.

In Katherine Norman's The Trilling Wire (1994) for clarinet and tape, the solo line seeks for a live voice against the predominantly wind-like sounds on the pre-recorded tape. It works; and Paul Roe's playing had a persuasive authority unmatched by any of the other performances.

Jane O'Leary's Into the Wordless for flute/piccolo (Madeleine Staunton), clarinet, violin, cello and piano, was receiving its premiere. It invites one to contemplate a purely musical discourse; though I found its length and eclecticism less effective in that respect than some other works by this composer.