For wind ensembles, it's not enough to be fine exponents of their instruments: the paucity of repertoire means players must also be inventive with programming. At their concert in St Peter's church in Goodwick, the Galliard Ensemble struck a clever balance between old and new, original and arranged. Giulio Briccialdi was a contemporary of Rossini and his quintet - betraying his prowess as a flautist and his opera house connections - was a lively curtain-raiser that proved the credentials of these Radio 3 New Generation artists. Their combination of virtuosic technique and expression was further apparent in the arrangement of Ravel's Le Tombeau de Couperin and in Barber's Summer Music.

John McCabe's Postcards is an elaboration of eight miniatures first written for two clarinets. Though developed into more substantial missives, the pieces remain succinct and elegantly constructed, capturing the essence of each instrument as well as the dynamic of a quintet.

Paul Patterson's Westerly Winds was another recasting, this time scaled down from an orchestral suite based on West Country folk tunes. It was brilliantly executed, but almost too densly layered.

For sheer wit and panache, nothing could beat the ensemble's performance of Berio's Opus Number Zoo, with each player alternating the verbal and musical phrases of the cartoon-like tales with consummate skill.

At St Brynach's church in Nevern, the Thorne Trio showed the same enterprise in exploring new repertoire. The results were less even and works by wind-players Stefan de Haan and RH Walthew did not rate with Milhaud's delightful Suite d'Après Corrette. Yet Ilid Llwyd Jones's performance of Silvestrini's solo oboe study after Manet's painting Le Ballet Espagnol would have persuaded anyone of the virtues of small-scale form and, indeed, of small-scale festivals.