When you think of lute songs, you tend to think of John Dowland, but that's to ignore several other deserving composers. One is Philip Rosseter, whose music the tenor James Gilchrist and lutenist Matthew Wadsworth have just championed on disc. And it was to Rosseter that most of the first half of their recital was dedicated, with Sweet, Come Again establishing their polished partnership straight away.

Though more familiar in baroque music's clarion tenor numbers, Gilchrist's singing encompasses the music's gentle twists and turns with an easy, expressive flow, opening out buoyantly for the higher notes. Their refinement is the more remarkable for the fact that Gilchrist can see Wadsworth but not the other way round; as the first professional blind lutenist, Wadsworth has had to develop a Braille system in order to read the tablature in which his music is written.

Of seven solo lute numbers, Rosseter's multi-layered Fantasia was a highlight, with its sliding theme eliciting harmonic wranglings from the composer that seemed to anticipate Bach. However, between the opening song and the last few items of a programme that also included works by Dowland and another of his contemporaries, Thomas Campion, much of the duo's performance seemed a touch subdued. Many of the songs lay low in Gilchrist's range; more crucially, he seemed too often to be holding back for fear of drowning out the lute, while Wadsworth employed his instrument's full force too rarely. This, and a fair bit of unscripted chat while Wadsworth tuned and retuned his strings, slowed the pace of the recital.

It picked up, however, with beautifully shaped performances of Dowland's My Thoughts Are Winged with Hopes and Campion's Oft Have I Sighed. And the encore, Campion's It Fell on a Summer's Day, was so well judged that one wished that Gilchrist and Wadsworth had dipped their toe into the smuttily humorous end of this repertoire much earlier on.