Composer Eddie McGuire was absolutely correct when he speculated that the harp and flute duo (hence the name) of Helen MacLeod and Emma Wilkins would suit the reverberant acoustic of Oran Mor's top floor.

Star rating ***
Composer Eddie McGuire was absolutely correct when he speculated that the harp and flute duo (hence the name) of Helen MacLeod and Emma Wilkins would suit the reverberant acoustic of Oran Mor's top floor. It did rather more than that, however; the couple's performance of his own music alongside that of Piazzolla and Ibert created an intimate salon feel that was very different from the usual in this series of rush-hour concerts.

McGuire's Folk Memories of Autumn is 30 years old (in this, the composer's 60th birthday year) and sounds as Orcadian as the landscape that inspired it. Premiered in Glasgow's Third Eye Centre and featuring a melody written for an Orkney TV documentary, like both the Piazzolla and the Ibert it also exists in a flute and guitar version, which hints at the potential breadth of Hoot's repertoire.

The Argentinian's Histoire Du Tango - Cafe 1930 is a fine example of that, with its echoes of Ellington and the Hot Club of France, its late-night vibe and its democratic division of labour between the instruments. Frenchman Jacques Ibert was just a generation older but the landscapes of his one-movement Entr'acte seem of an earlier era in what is a brief but effective showpiece.

It was the meatier fare of Mozart's Concerto for Flute and Harp from 1778 that let the programme down, the duo joined by a trio of strings from the "regular" band at these concerts. The soloists performed the piece at the Edinburgh Festival Fringe two years ago, but their communication was, perhaps understandably, not matched by the strings in a piece that is, in any case, as near as Mozart got to hack-work.