Viennese-born Egon Wellesz (1885-1974) was a pupil of Schoenberg's, and a friend and contemporary of Alban Berg and Anton Webern. After Hitler's rise forced his exile, he settled in Britain, where he taught at Oxford University. His own music ranged widely - he wrote three operas, nine symphonies, string quartets and song cycles - but it's hardly ever heard today. This tribute, organised under the auspices of the Anglo-Austrian Music Society, revived three major works, all composed in Britain: a string quartet, a vocal work - a setting of Gerard Manley Hopkins - and an octet.

The impression left by these disparate works is puzzling. The Fifth String Quartet (1943) is audibly the work of a Schoenbergian, though there's far more emphasis on expressive melody than expressionist gesture, the quartet, with its subtitle, In Memoriam, was consciously designed as a leave-taking, and, in the Hopkins setting, begun the same year, he started to wipe the slate clean.

Yet the 1947 octet seems to hark back to central Europe - although to the neoclassicism of Hindemith rather than the second Viennese school. It's bluff and rather too determinedly perky; whether there's more in it than this rather dutiful performance discovered, was hard to judge, but then, sadly, this isn't music any of the performers are going to play very often. Some of Wellesz's larger-scale works might provide a better sense of his stature.