The Hungarian Peter Eotvos (born in 1944) has always been a composer, but until the past few years he was better known, at least in Britain, as a performer and a conductor. From now on, I suspect, we are going to hear much more of Eotvos the composer. Earlier this year, Boulez and the LSO premiered his dazzling orchestral showpiece zeroPoints; it is only a matter of time before we see his first opera, based upon Chekhov's Three Sisters. Another stage work, derived from Tony Kushner's Angels in America, is in the pipeline.

Here, Eotvos conducted a pair of his own works. One of them, Chinese Opera from 1986, showed his ear for vivid gesture and instrumental colour in a series of six pieces for "imaginary theatre". Shadows, first performed in 1997 and getting its British premiere here, showed how powerfully his musical language is developing. There is now more transparency, more emphasis on line, but the ideas are as striking as ever. The sounds of the ensemble were electronically projected around the auditorium, "shadowing" the flute and clarinet soloists (Sebastian Bell and Michael Collins here), whose lines became increasingly elegiac as the work went on.

There was another British premiere in the programme too: a little Concertino for cello and ensemble, by China's Guo Wenjing. It was full of fresh, arresting sonorities and a bracing mixture of styles - the ending sounded like Vaughan Williams's The Lark Ascending heard through Oriental ears.