Birmingham Contemporary Music Group's first foray into family concerts was so good that it was always going to be hard to follow. In this performance, directed by the affable Peter Wiegold, the big idea was the use of digital animations specially created by Terry Braun, whose previous collaborations include video for dance.

For Philip Cashian's Wynter Music, inspired by painter Bryan Wynter, Braun took a single work, Green Confluence, whose acid greens and yellows, turquoise and mauve-blues provided a rapidly moving background for wavy lines and squiggles paralleling the progress of melodic lines. Two movements from Steve Reich's New York Counterpoint for clarinet and tape had spherical starbursts pulsating on screen, their sequences dictated by the music itself. But whether children (or adults) learned more from this than an encounter with the real live clarinettist, Tim Lines, is a moot point. Boulez's Dérive I was also given the digital treatment, with swirling vortices in a kaleidoscope of colour.

Wiegold presided over some improvised work, clearly a fruitful area of exploration. Watching and listening to the players, with camera close-ups, arguably pointed up what was happening in the music better than any visual fireworks and glorified screensavers. Toy instruments augmented the lineup for Wiegold's own piece, That Man's Talking Nonsense, which closed the afternoon's sequence. Yet, significantly, the most brilliant pairing of film and music was courtesy of YouTube and a 1900 silent clip of the variety artist and clown Little Tich. Notable for his bulging Feldman (Marty, not Morton) eyes and his long flipper-like shoes, Stravinsky portrayed him in the second of his Three Pieces for string quartet. Image and sound mirrored each other vividly here and, reassuringly, got by far the biggest oohs and aahs.