Oxford Contemporary Music runs short seasons twice a year, spanning everything from jazz and dance to electronic music and the hardcore avant garde. The latest series boasts no fewer than 10 premieres, and four of those were included in Wednesday's recital by the much-praised Canadian Trio Fibonacci.

There aren't many permanent piano trios who make a speciality of contemporary music, but the Fibonacci have already carved out their own niche, and shown their sympathy for a wide range of contemporary composers.

Here the new works came from both sides of the Atlantic, together with one modern classic of the trio repertory, Bernd Alois Zimmerman's Présence, which he called a "ballet blanc". Each of the three instrumentalists portrays a character from literature - the cello represents Molly Bloom, from Joyce's Ulysses, the piano Jarry's Ubu Roi, the violin Don Quixote - and the five movements of the work are riven with quotations and allusions, and stark, uncompromising ideas.

The Fibonacci's performance was muscular and appropriately dramatic, and supplied some welcome substance at the end of an otherwise relatively lightweight sequence of works. Michael Finnissy's Necessary and More Detailed Thinking, receiving its first performance, is a short, slightly mysterious tribute piece, full of sotto voce gestures and repressed expressiveness, while Airs et Nuits by the Canadian André Villeneuve seemed rather shapeless and musically anonymous, couched in a post-romantic, vaguely Bergian language.

There was more formal coherence and a sharper honed style in the Argentine Marta Lambertini's Los Fuegos de San Telmo, though it would have been good to know just a little about the background to the work. The programme note for Gerald Barry's In the Asylum was hardly more enlightening - in this piece, we are told, the composer imagines the following scene: "In the Asylum the composer is writing three pieces - The Rung, The Potent Rug, Wigs of Flanders." Clear as mud, but the piece itself is a typically Barry delight, a sequence of spare, vaguely folksy melodies in a variety of quirky doublings and harmonisations, with a snatch of his setting of God Save the Queen thrown in for good measure. Baffling, but also strangely beguiling.