For over three decades, the London Sinfonietta brought many of Gyorgy Ligeti's most beguiling scores to the UK, right up to his final orchestral work, the Horn Concerto, which they introduced six years ago. That premiere was conducted by George Benjamin, and he was also in charge for the first part of Ligeti Remembered, the Sinfonietta's memorial to the great composer, who died in June last year.

The three works in this programme covered 30 years and three distinct periods in his creative career. Ramifications is classic 1960s Ligeti, blurring its tonal world and shifting bundles of interlaced lines by tuning the two groups of strings a quarter of a tone apart, while Melodien, composed in 1971, was the work that signalled the beginning of a new, more unbuttoned phase in his music. Both received vivid, beautifully shaped performances but it was the account of the Piano Concerto, with Pierre-Laurent Aimard the magisterial soloist, which was the most persistently memorable. Even after almost 20 years, it still seems a richly strange score.

Nevertheless it was the two pieces not by Ligeti that really stole the show. Both featured soprano Claire Booth. After the London premiere of Oliver Knussen's Songs for Sue, his miniature song cycle written in memory of his wife, with the bittersweet tone of its sequence of poems perfectly judged, Booth was even more dazzling in Alexander Goehr's Behold the Sun, from 1982, an aria that was later absorbed in his 1985 opera of the same name. It came over as powerfully wrought and dramatically urgent; Booth handled its high-wire vocal writing with consummate ease.

· The second part of the London Sinfonietta's Ligeti tribute is at the Queen Elizabeth Hall, London SE1 on May 19. Box office: 0871 663 2581