Full-blooded and fiesty, Ellen Cranitch and Anne Marie O'Farrell launched the autumn series of concerts at Airfield House with a mix of panache and chutzpah. Visiting their flute and harp upon a willfully eclectic selection of pieces, running the gamut of classical, traditional and jazz, this is a duo who fear nothing of thumbing noses to boundaries or giving short shrift to received wisdom - at least when it comes to selecting their repertoire.

Perched in the welcoming bosom of Airfield House, the pair set to with a lissome reading of Glⁿck's baroque Dance Of Blessed Spirits. Cranitch's flute asserted its fluent authority, the intricate manoeuvrings of Bach's Sonata No. 4 providing the perfect match to her dexterous control. O'Farrell's transformation of the harp from instrument of gentility to one steeped in an earthy sensuality was remarkable, and largely went unheralded by this most self-effacing of musicians.

Her mastery of both the classical and Irish folk harps jettisoned all associations of the instrument with singing nuns and holy ground. Instead, with rhythmic sensibilities that would put Buddy Rich to shame, she jousted with Cranitch immaculately through each and every jazz inflection of Wayne Shorter's Footstepsand Kurt Weill's standard, Speak Low.

Their traditional pieces were shot through with magnetic shards of diskinetic rhythms. O'Farrell's original Heir Conditioning floated well beyond the confines of its bookends, courtesy of The Song And The Chanter, the former thrusting and cutting through Cranitch's tempestuous flute with ease.

That such heights should be scaled on the opening night is testament to the delights of Airfield's genteel splendour. And Cranitch and O'Farrell paid due tribute to their host, airing a gorgeous piece, Torque, especially written for the occasion.

Carolan's Fanny Power sounded their departure. Lateral thinking and free ranging, it breathed deep of the passions - a mighty fine evening.