We owe the Wigmore Rising Stars Day to the European Concert Hall Organisation, whose aim, as the programme puts it, is to promote "work circulation" for young, up-and-coming musicians. We are not told how the artists are selected, though the day consisted of three concerts by performers nominated by concert halls in Amsterdam, Vienna and Athens.

"Rising Stars" proved to be something of an exaggeration at times, particularly when we got to the Viennese representative, pianist Anika Vavic, who battered Prokofiev's Sixth Piano Sonata into shapelessness, gave us some very amorphous Scriabin and offered a graceless account of Haydn's Sonata in D.

Haydn and Prokofiev also featured in the Athenian concert, with cellist Christophor Miroshnikov and pianist Theodora Satolia. His weighty lyricism and her restrained sense of drama resulted in a powerful performance of Prokofiev's Sonata in C, beautifully shaped and rich in emotional detail. Elsewhere, however, they opted for transcriptions designed as bravura showpieces. Alfredo Piatti's arrangement of Haydn's Duo Sonata in C for Violin and Viola allowed Miroshnikov to display his prowess at double and triple stopping, while Maurice Maréchal's version of six of Falla's Seven Popular Spanish Songs brought with it a barrage of pizzicato and col legno effects. Transcriptions usually weaken the impact of the original, and there are many greater works for cello and piano that one wanted to hear them play.

Best by far, however, was the Dutch couple: clarinettist Céleste Zewald and pianist Jaap Kooi. They radiate the easy glamour necessary for stardom and Kooi's articulate fieriness complements Zewald's poise. When the pianist is the accompanist, as in Nils Gade's Fantasistykker, Kooi can be a bit overemphatic. Given a work in which the balance between the performers is equal - the Poulenc Sonata and Chalumeau by Robin de Raaff, a sexy duet they commissioned - the results are thrilling.