Then came the more acerbic Hindemith Kleine Kammermusic for Wind Quintet. This pungent and characterful music received a suitably robust performance that fully brought out its mordant humour. The more reflective moments were equally well done with some lovely legato playing in the central slow movement. Throughout there was real understanding of the style required for this no-nonsense anti-romantic music. An enjoyably bracing listen.

The wind music repertoire with its limited supply of established masterpieces poses programming problems which were well solved by the Gallimaufry’s decision to make the second half a series of divertissements beginning with Saint-Saëns’ Caprice opus 79. This gave Maxine Willis, who we’d already heard on flute and piccolo in the Hindemith, opportunity to display her virtuosity as a flautist. Then came the Pilss Wind Quintet, a garulous diversion that the players did their best to breathe life into. The strongest movement was the scherzo with its effective instrumental interplay. The splendidly ungrand finale was Françaix’s L’heure du Berger, whose louche Parisian cabaret style was caught to a tee. I for one left the hall with a naughty smile on my face.