Having taken over as artistic director of the Scottish Ensemble in September, Jonathan Morton is still developing his personality with the group. Indications of how he will do so were becoming apparent in this, the second tour under his direction, an eclectic programme of Vivaldi and Bach alongside Tavener's cello meditation, The Protecting Veil.

As violinist and director, Morton is a very different prospect from his predecessor, Clio Gould, whose 12-year tenure redefined the reputation of the group. Where Gould is a flamboyant, extrovert player, Morton is cooler and more self-contained, a player of elusive depth rather than showy brilliance. It is a change that seems to be reflected in the ensemble's playing. It is still virtuosic, but flair has been tempered by a more moderate, stylised approach.

The Bach and Vivaldi concertos saw the players using baroque bows in a nod to contemporary performance practice, the first time the group has done so. As an experiment, it reaped rewards: there was a freshness about the performance and an increased awareness in shape and articulation.

Where once the group would have gone hell-for-leather in the finale of the playful B minor Concerto for Four Violins from Vivaldi's L'Estro Armonico, here the performance was more moderated. The effect of the baroque bows also went a good way towards restoring the balance between harpsichord and modern strings in Bach's D minor Keyboard Concerto, allowing Jan Waterfield's poised, elegant playing to be heard.

Doubling the size of the ensemble, with 13 young players from the National Youth Orchestra of Scotland, for The Protecting Veil was another bold experiment. Morton was adamant that quality would not be compromised, and there was nothing lacking in the multi-layered accompaniment the expanded group wove around Raphael Wallfisch's poetic account of the solo cello part.