Catch this programme if you can, because it is one of the most colourful selections of music you will hear all year. Stravinsky's Concerto in D is a comparative miniature from late in his career, but a perfect gem with a first movement that strays dangerously close to self-parody, a liquid, melodious central slow one and a closing Rondo that skilfully combines the ideas of both. Although superficially a contrast, Jean Francaix's Octet takes that playfulness on and is more modern structurally than one might assume. Certainly, the Frenchman plays with the sillier aspects of the voices of the clarinet, horn and bassoon, but the conversation between the trio from the London Winds and the string octet was enthralling.

Leader Jonathan Morton described Steve Martland's Eternity's Sunrise, receiving its world premiere, as "stark", which is true of the spare opening and closing passages, but there is also a warmth to its rhythmic pulse. It is unusual Martland that lacks percussion and here debts to John Adams, Philip Glass and Howard Skempton were apparent in its discrete, overlapping sections. Very demanding of the players, this performance grew as the pace of the piece built - and will surely expand further during the week.

Michael Collins last introduced his basset clarinet to a Scottish audience for a performance of the Mozart Concerto in Aberdeen. In front of this stand-up chamber orchestra, its presence made even more sense. Authentic? Probably. Delightful? Assuredly. This was an old favourite as its composer might well have heard it - including the soloist's ornamentations in the famous Adagio. Those who go to hear it are in not just for a treat but a succession of them. Glasgow City Hall tonight, then Dundee, Inverness and Aberdeen.