Bringing Bach, Schoenberg and Webern together in a single programme is not as radical as it might appear. Schoenberg regarded Bach's music as the source from which his own contrapuntal style was a natural development.

But for the Camerata and their audience, it made quite a change: this is an ensemble with a core diet of baroque and classical music. Douglas Boyd, who will take over as principal conductor next season, clearly felt that some reassurance was necessary and chatted to the audience before playing.

The Camerata are one of the few British chamber orchestras to regularly perform baroque music on modern instruments. Although Boyd's attention to detail made for some finely crafted phrasing, there was no avoiding the fact that the Camerata's vibrato-less but metallic sound was an uneasy compromise; Purcell's Chacony and C minor Fantasia lacked the mellifluous elegance and warmth a period ensemble would have brought.

There were related problems in the Bach oboe concerto. Although Boyd managed his role of director and soloist well, the problems of balance caused by over-bright strings marred the outer movements. The inner Siciliano, however, was miraculous: here the Camerata came into their own.

The sheer intelligence of Boyd's conducting was enough to invest Webern's Five Movements for String Quartet with expressive coherence and the Camerata were quick to respond. Schoenberg's Verklärte Nacht fared less well.

Crucially, the audience's response could not have been warmer. The Camerata can surely afford to programme more concerts like this one.