Esprit rude/Esprit doux (1984) - Elliott Carter

Sur la lune, deux cils gris (1997) - Pascale Jakubowski

Rosh' (1993) - Francois Rosse

Density 21.5 (1936) - Varese

Nachtgesang (1998) - Philippe Hersant

With the exception of Carter's Esprit rude/Esprit doux, all the works in Friday's recital by Concorde were French. And, with the exception of Varese's Density 21.5 for solo flute, all the works included a clarinet.

Jakubowski's Sur la lune, deux cils gris consists of five short pieces for clarinet solo inspired by five haiku which the composer, who was present, read before each piece, thus pairing a mental image with a sonic elaboration. There was no obvious link between words and music, but the quiet restraint of the texts was matched by the lyrical and reflective quality of the music. Paul Rowe played with great delicacy and attention to melodic nuance.

Equally lyrical and restrained was Rosse's Rosh' for flute, clarinet and piano. It was written at the request of three young musicians from the village of Rosheim in Alsace, hence the name.

Varse's Density 21.5, for flute solo, was considered avant-garde in its time, but has become so familiar that it is beginning to sound old-fashioned. Madeleine Staunton played this classic with confident ease.

She was joined by Paul Rowe for Carter's work which, in contrast to the French music, seems more head than heart. Flute and clarinet engage on a mathematical exploration of a territory, which does not make easy listening.

Hersant's Nachtgesang, for clarinet, violin, cello and piano, returned to the world of suggestion favoured by the French, but is infused with greater warmth. It is an attractive and undemanding piece and Concorde brought out all its charm.