Finnish composer Jukka Tiensuu gives away few details about his works, preferring not to create any preconceptions. Yet his new clarinet concerto, written for Finnish compatriot Kari Kriikku, seems to invite such explanations. The intriguingly entitled Missa, which Kriikku premiered in Glasgow with the conductor John Storgards, is cast in seven short movements, each named after the parts of the Mass.

The suggestion is ecclesiastical high-mindedness, and there is certainly a hint of religious rite to the interweaving, polyphonic strands of the opening and the brief appearance of bells. Before long, however, the concerto takes a surprising sideways shift into a bluesy, dancing domain, what appears to be a series of playful variations for soloist and orchestra, which showcases a dazzling panoply of extended clarinet techniques from the virtuoso Kriikku. No less impressive is Tiensuu's writing for orchestra; in particular the way in which the orchestral woodwind echoes the soloist, passages which sound uncannily like electronic reverberation.

Storgards, who last season demonstrated his adventurous streak with a programme of all-Baltic music, did so again, here performing Tiensuu in the context of mostly 20th-century Finnish works. Sibelius was inevitably present, but in the guise of his little-known Swanwhite Suite, a piece that originated as incidental music for the theatre. In contrast, Rautavaara's Cantus Arcticus, scored for orchestra and taped birdsong, has become something of a popular classic. Many deride the work as easy-listening fluff, but Storgards' unlingering treatment drew attention to the work's carefully drawn form.