With a recent work by Julian Wagstaff and a Bach transcription by Edward Harper, the Edinburgh Quartet yesterday continued to replenish its repertoire, even if it was Haydn, artfully placed at the end of this university lunchtime concert, who stole the show. Though Wagstaff was born in Edinburgh, where he also studied, he is not yet an established name and the audience for his Piano Quintet (preceded by Harper's sombre, serious, viola-driven and scrupulously unsensational version of Bach's G minor Prelude and Fugue) was impressively large.

Its splintery, vinegary back-references to old sounds and styles were given a firm, stark context. The piano part, written for Alina Kolonitskaya, a young Russian friend of the composer, did not distract attention from the strings, yet contributed to the often Russian flavours - romantic, folky, nervy - of the three movements. Shostakovich and Schnittke were among the background (sometimes foreground) presences, and the entire work seemed a sort of haunted, kaleidoscopic portrait gallery, tersely presented in what were suitably brittle tones.

As postlude, the quiet tensions of Haydn's F minor Quartet, Op 55, No 2, made their point all the more keenly, the interplay of major and minor, the sudden swerves and pauses sounding both disturbing and ambiguous. By keeping the action fairly low-keyed, the players - with Charles Mutter back as leader - at times even enhanced its effect.

This was not a concert that spoke out, but it made us listen.