The remarkable members of the Loeki Stardust Quartet, with their extraordinary array of in excess of 20 recorders of various sizes and material on stage, gave a display of amazing virtuosity.

They pushed the bounds of technique to extremes, introducing their own unique methods of producing sound to combine with those usually expected. Different mixes of instruments imposed varying characters.

Obrecht's Fuga-Fantasia on 'J'ay pris amours' used a banging activity on the recorders' air holes to make melody.

FreeeZzz (1998) by Anke Brouwer consisted at first of a long monotone, the sound taken up by one player, and passed to another without a discernable join. More and more embellishments were added to the pivotal note; there were long pauses, but synchronization was perfect.

Dick Koomans The Jogger (1994) was a descriptive piece with a constant throbbing motion. Gasping sounds were made and a high pitched recorder suggested a second wind

Passeggiate (1990) by Tristan Keuris began as a solo reverie, but gradually all four became associated, still performing in loose, dreamy tempi. The absolute unanimity was incredible. At one stage, as instruments were exchanged, the eight inch long sopranino and a giant six footer became part of the ensemble.

With the 18th Century Concerto Grosso No 3 of Unico Wilhelm van Wassenaer, the first movement sostenuto was a faultless flow of melody, with immaculately placed counterpoint to follow, the epitome of baroque composition.

Chiel Meyering's Sitting Ducks (1990) was a humorous representation with many special effects, such as blowing and gasping rhythmically, wavering and fluttering, slurring and tongued together.

No names of the quartet's members were given in the programme, but one wondered whether the modern pieces might have been composed by some of them. More information would have been useful.

Jill Hopkins