The Orchestra of the Swan's commissioning policy is enterprising, and sometimes very imaginative, in the way it garners companion pieces for standard repertoire. Setting them side by side, new energies are often created.

From Joe Cutler, the orchestra had sought a work for solo flute and string ensemble to be heard with music by Vaughan Williams, whose Fantasia on Greensleeves has that scoring. The further specification that this should not be a concerto, yet embrace concertante elements, was a constraint Cutler countered by writing a parallel violin role.

The result, entitled Gonzalez, was curious, a somewhat uneasy compromise. That may also have been due to the imaginary character of Gonzalez, who emerged unbidden during composition, enigmatic and unignorable. In this three-part work, a brief string opening set up shadowy street corners where this dubious character might lurk, but a shrill tritone on violin and piccolo in fact heralded a main section of exuberant Latin American dance rhythms.

Gonzalez was not a villain after all - perhaps just a chancer - and, in the more contemplative final section, reworking Bach harmonies, the feeling of a journey was discernible. This thoughtful, slightly quixotic finale revealed more about Cutler than his character. This premiere, under conductor Nicholas Cleobury, was certainly spirited, suggesting that vibrant flautist Diane Clark should get a full-blown concerto after all.

In Bartok's Rumanian Dances and in the concert's culminating work, Vaughan Williams' Fantasia on a Theme By Thomas Tallis, it was the consistently sweet-toned solos of leader David Le Page that stood out.