This young ensemble is named after the first native Australian to visit Britain, a man also commemorated at Bennelong Point on which the Sydney Opera House stands. Staging contemporary Australian work alongside British allows the primarily Australian though London-based group to celebrate its Antipodean connections, but the ironies of the colonial past are not lost.

Martin Wesley-Smith has concerned himself with the plight of East Timor and his Tekee Tokee Tomak focuses on the people's positive spirit in resisting Indonesian oppression and violence. Written for solo clarinet and CD-ROM, it is both video documentary and rhythmic soundscape: chatterings of children and birds juxtaposed with the faces of battle-scarred but defiant fighters for the now independent East Timor.

Clarinettist Natascha Briger could not argue the case for it being great music, but there was compassion, and the fundamental point about human rights was forcefully made. Dave Smith's clarinet duo, Mitchell Principles and Laws on Central Albania, an exploration of klezmer and Eastern inflections, made a similar point more flamboyantly.

The Bennelong Ensemble usually pits winds against strings, but any dismay at having only three performers in this concert was banished by the exuberance and variety of clarinet and saxophone combinations offered by Briger and John Lewis with percussionist Minesh Patel.

For sheer craft, the two memorials for soprano saxophone by Mark-Anthony Turnage played by Lewis stood out, as did Ross Edwards' Enyato IV for bass clarinet, marimba and bongos, unassuming but highly expressive.

The most testing work was Michael Whiticker's Redror for alto sax and percussion. Lewis executed its multiphonics - " different pitches sounded simultaneously" - with panache, while Patel came into his own here, required to demonstrate delicacy as well as brute force.

Unfortunately the pain of ear-splitting cacophony will inevitably imprint on the memory longer than Whiticker's moments of soothing jazz.