Madeleine Mitchell's Red Violin festival is an invitation to listen beyond the usual parameters of the repertoire. Fiddlesticks, Mitchell's collaboration with ensemble Bash, was born of the impulse to perform Lou Harrison's Concerto for Violin and Percussion Orchestra, in which Harrison's own commitment to embracing a wider world of musical traditions is implicit.

Mitchell brought out the romantic vein of the concerto's melody but, nearly half a century on, it is the zany originality and why-not attitude of Harrison's percussion that is striking. Harrison and John Cage were hot on recycling, and so flowerpots, dustbins and spring coils duly make an appearance.

Fiddlesticks also premiered two specially commissioned companion pieces. Anne Dudley's Vermilion Rhapsody played on Gershwin, balancing highly lyrical sections with ones of more vibrant rhythms, while Stuart Jones's Gharnati was inspired by the Moorish influence on Andalusian music. Yet, in the context of the Burmese crisis, it was Mitchell's performance of a piece by Nigel Osborne for solo violin that took on a particularly haunting quality. Named Taw-Raw, after the fiddle of Burma's Shan people, and woven from the emotional thread of Osborne's Burma-set opera The Piano Tuner, this evocation of the natural world had a gentle force of its own.

While brilliant marimba and vibraphone playing had marked out Tarik O' Regan's Fragments, nothing could beat the exuberance of Ensemble Bash's calling card, the Senegalese circumcision dance, Kumpo. Here, Mitchell exchanged her fiddling stick for drumstick and dun dun, but her demure bashing couldn't match Bash's united abandon.

· Festival continues until Tuesday. Details: redviolin.co.uk