Cellist Rohan de Saram began his UK premiere of Luciano Berio's Sequenza XIV for solo cello by turning this most lyrical instrument into an ensemble of percussion sounds: his left hand made resonant twangs by striking the strings, his right beat the cello's body. It was as if it had been transformed into a delicate and otherworldly drum kit.

This 14th Sequenza was the last of Berio's series for solo instruments, which expanded the repertoire and the identity of every instrument from the trombone to the accordion. The cello piece was written in 2002, a year before Berio's death, for de Saram himself. The mesmerising, rhythmic sounds, inspired by Sri Lankan drums, were a constant refrain throughout the work.

However, as with every other sequenza, the cello piece does not just introduce new techniques and sounds, it transforms more familiar gestures: phrases of achingly lyrical music, dreams of romantic warmth and intimacy complemented the energy of the percussive sections. De Saram's performance characterised every element with virtuosic precision, and held them in a subtle balance.

De Saram is the cellist of the Arditti String Quartet, and in the rest of the concert they performed Berio's entire output for string quartet.

If the sequenzas reflect on and extend the history and repertoire of individual instruments, Berio's quartets have a similar relationship with the quartet literature. The early 1956 Quartetto was composed when Berio was still digesting the discoveries of the avant-garde; in the Ardittis' performance, it was music of flickering, fragmentary energy.

After the gestural extremity of Sincronie, written in 1963, with its blocks of chords, the next major work was the 1993 Notturno, based on images of stillness and silence. The quiet, oscillating pitches of the opening bars grew into a series of waves that flooded the whole piece, before sinking back into hallucinogenic stasis.

A single idea but a vast, unpredictable musical canvas, and a searing performance from the Ardittis.