Why there were empty seats for this is anyone's guess. Basically, a Schumann exploration, for which the pianist Leif Ove Andsnes and violinist Christian Tetzlaff were joined by Christian's cellist sister Tanja and the clarinettist Martin Fröst, it was polished but relaxed, just as a chamber recital should be.

Still, during Kurtág's 1990 Hommage à R Sch it seemed jinxed. For this Christian Tetzlaff had switched to viola; he, Andsnes and Fröst had barely begun the third of the six movements when one of his strings snapped and he scurried off to change it. On his return they started again, reaching the fifth movement before more viola troubles sent him backstage again.

It meant we didn't get to hear the work in its uninterrupted entirety, which was a shame. It's a compact and brilliant homage, with wide-ranging references to Schumann's works and preoccupations. Moreover, it introduced us to Fröst, whose sensuous clarinet lines were mesmerising, as they were later in Berg's Four Pieces for Clarinet and Piano.

Schumann himself was represented by two relatively unfamiliar piano trios. Some say he let standards slip in Trio No 3, his brain already addled with syphilis and, indeed, it did at times sound a touch eccentric. Yet, the expansive first movement and finale were irresistible.

Andsnes, while staying out of the limelight, was the backbone of it all. Christian Tetzlaff played the viola with a tense, tight vibrato; but on his main instrument he gave us melodies that were mercurially, sensitively coloured. Tanja Tetzlaff was a strong foil. It was Fröst, though, who was the evening's discovery - we will certainly be hearing a lot more of him.