Some classical gigs need to be seen as well as heard. The opening concert of the UBS Eclectica series was very much a case in point. Featuring trumpeter Hakan Hardenberger and percussionist Colin Currie, the evening was as much about the physicality and drama of performance as about music itself.

Charismatic soloists both, Hardenberger and Currie have recently formed themselves into a double act, commissioning new music that they can play together. Currie, perhaps inevitably, was the dominant presence, introducing most of the numbers cabaret-style from the platform, and attacking a sequence of fiendish solos when Hardenberger was off stage. These included Per Norgaard's Fire Over Water and Louis Andriessen's Woodpecker - the former joyously cacophonous, the latter more subdued, albeit fiendish in its rhythmic complexity. A solo percussionist is, of necessity, a musical athlete, and the brilliance of Currie's playing is inseparable from the thrill of watching him perform acts of tremendous dexterity that seemingly draw on endless reserves of stamina.

Hardenberger's style, generating tremendous emotions out of stillness, is the perfect dramatic foil for Currie's overt dynamism. Even in their duets, however, the theatrical element was dominant. The closing work was Heptade by André Jolivet, a composer endlessly fascinated by the vagaries of spiritual experience and expression. The percussion layout resembled an altar, turning Currie into the celebrant of some arcane ritual; he goaded Hardenberger into a series of stylised responses, by turns ululating and ecstatic.

In Dave Maric's Lucid Intervals, the process was reversed, with Hardenberger initiating a sequence of commanding, almost baroque solos while Currie stooped over his instruments as if in acquiescent subservience. Enthralling stuff, every second of it.