There is something irritatingly chummy about concerts advertised as somebody "and Friends". Maybe they will be having such a lovely time playing together that they will not notice if anyone else turns up.

Indeed, there were periods during the second half of this programme when the musicians seemed to be absorbed in the music and each other, rather than in any notion of performing for an audience. Brahms's music emerged sincerely and just a little too tastefully. Still, if the refinement of the playing made for a subdued Intermezzo, it had paid off in the thoughtfulness of the first movement. At least the finale, Brahms in consummate Hungarian gypsy mode, ended in a mood of rollicking abandon.

If this was anything to go by, the Wigmore will have had a weekend of refinement. Vogt had programmed three concerts, each presenting one of Brahms's piano quartets alongside complementary works involving clarinet. No stage-hogging soloists here. Isabelle Faust's expressive violin playing could even have used a little more bossiness - in the piano quartet her instrument ceded its position of dominance a bit too often to Tatjana Masurenko's rich viola.

Vogt, who can be an aggressive player in front of an orchestra, was a pussycat in Brahms's late, autumnal Clarinet Trio Op 114, content in his supportive role. But this was a showcase for the most striking "friend", young clarinettist Sharon Lam, who took the wistfulness of Gustav Rivinius's opening solo cello phrase and intensified it with extraordinary eloquence; the artistry of her playing never flagged for a moment.