Eighty-odd years after it was written, Webern's spare, cerebral music still has the potential to shock, and some of this audience seemed to be wondering why the Leopold Trio had allowed it to gatecrash an otherwise perfectly nice programme. Yet the programme had been put together to show that Webern's chamber works could be heard alongside Bach and Mozart as another fascinating part of the same tradition.

This was most successful with the first of two Webern pieces, the 1925 Movement for String Trio. It was framed by austere Bach keyboard music, in string arrangements credited to Mozart; and suddenly Webern's writing, with its two-note swooping figure passed round from player to player, became a clear reflection of the way in which Bach builds his music out of similarly imitative phrases, albeit less obsessively condensed ones.

This approach couldn't, however, stop Webern's String Trio Op 20 sounding like the complex piece it is, but it was beautifully, persuasively performed none the less. The model for this is more Mozart than Bach - and the Mozart we had heard at the start of the concert, the K424 duo for violin and viola, felt a long way away already. But this had been a treat in itself. The Leopolds have a new violinist, Isabelle van Keulen, and she and viola player Lawrence Power blended their equally rich sounds with meticulous care, conjuring a rapt sweetness in the slow movement.

The second half was given over to one of Brahms's darker, more driven pieces, the G minor Piano Quartet, for which the trio was joined by pianist Marc-André Hamelin. The mood was one of determination, and yet Hamelin's playing was almost too smooth, providing tasteful support rather than passionate drive. But his scurrying solos in the finale were spot-on.