Shostakovich makes only a brief appearance at Presteigne; Rudolf Barshai's arrangement of his eighth quartet closes the festival almost as an afterthought. Mozart, too, gets little more than a look-in. Instead, there was a Baltic theme to this year's festival, prompted by the 60th birthday of the Latvian composer Peteris Vasks. Two other occasions were marked: the 30th anniversary of Britten's death and the 50th birthday of the festival's inspired founder, Adrian Williams. It's a sign of the considered approach of artistic director George Vass that the commemorations were interwoven so intriguingly with new pieces and commissions over the six days.

The somewhat overwrought style of the Vertavo Quartet suited Mozart's Hunt Quartet K458 less well than the two-movement 1985 quartet of Erki-Sven Tuur. They attacked his driving rhythms and wild syncopations with verve, making the contrast with the carefully prescribed aura of fellow Estonian Arvo Part's Psalom all the greater. The Vertavo's focus sharpened in Britten's Third Quartet, Op 94, where an adroit balance was achieved between the moods of austerity and burlesque.

The good acoustics and intimacy of St Andrew's contributes to the special feel of Presteigne concerts, so the complete cycle of Britten Canticles was always likely to be rewarding. In Canticles I, II and IV, Patrick Craig, Andrew Carwood and Michael Bundy (respectively counter-tenor, tenor and baritone) brought a clarity that underlined Britten's instinct for word-setting.

Julian Philips' Eclogues and John Joubert's short cycle Shropshire Hills, premiered here by Carwood, continued the festival's tradition of pastoral song. But it was Anthony Marwood's performance of Vasks' violin concerto Distant Light in the opening concert that was outstanding. With Vass and the festival orchestra giving sterling support, the radiant intensity of Marwood's playing had extraordinary emotional power.

· The festival ends tomorrow. Box office: 01544 267800.