Established in 1956, the Park Lane Group's week-long programme for unestablished performers has become such a familiar part of early-January concert life that one easily forgets how revelatory individual evenings can be. Thursday night's offering proved to be one such. Performances were divided between Sally Wigan's assured solo piano and the Nephele Ensemble, an all-female quintet featuring string trio, harp and flute. The group is named after a nymph created by Zeus to deceive one of Hera's less circumspect admirers, but there is nothing clone-like about the group. They play with subtlety, concentration and surprising vigour.

They began and ended the concert with two pieces from the 1980s: Bernard Rands' In the Receding Mist, a beautiful little piece that received a superbly turned performance, its gradual shifts of colour and timbre precisely conceived; and Jean Françaix's jolly Second Quintet, evidently something of a party piece, but performed here with nicely judged restraint. They found time, too, to present two world premieres. The first, by Stuart MacRae and entitled simply Nephele, made for a superbly concentrated experience. Each of its short eight sections wove its material round a particular textural quality suggested by the combination of instruments, but with an irresistible and brilliantly achieved flow animating the whole and undercutting any sense of dryness. The second, by Timothy Salter, was less striking, but still nicely characterised and impressively realised by the players.

No less impressive were Wigan's contributions. Her performances of two of Judith Weir's witty character pieces, The Art of Touching the Keyboard (after Couperin) and I've Turned the Page, and of Messiaen's Le Loriot (from Catalogue d'Oiseaux), all relied on a capacity to build convincing performances by keeping tight control over contrasts in sound quality.