{TABLE} Mambo (1982)......Bent Lorentzen Four Preludes, from December Music (1967)......John Harbison King of Denmark (1964)......Morton Feldman Aberration (1980)......John Kinsella Symphony for Five (1966)......John Kinsella {/TEXT} JOHN KINSELLA'S Symphony for Five (flute, clarinet, violin, cello, percussion), commissioned by Concorde, with funds from the Arts Council, was the principal work in last Sunday's midday recital in the Hugh Lane Gallery. Although the most recently written of the works in the programme, receiving its world premiere, it had its roots, as the composer explained, in a favourite but unidentified symphony of the classical period. Its three movements tantalised with hints of the past, hidden in a general mellifluousness.

Kinsella's earlier Aberration for flute and violin showed the modernist and traditionalist at grips with each other, victory going to the traditionalist.

Morton Feldman's King of Denmark, for percussion solo, was an odd work where the silences were as important as the sounds, if not more so. Listening to it was like lying awake at night and hearing disparate, disconnected sounds, all muffled by distance, arising from mysterious sources and barely impingeing on the ear.

Concorde performed Harbison's Four Preludes at their first recital 21 years ago. These short pieces, played on flute, violin and clarinet, were richly polyphonic and, like the miniatures of Webern, demanded, and rewarded, close attention.

Lorentzen's Manibo was a strident exercise in rhythm that made use of the more unpleasant sonic capabilities of clarinet, cello and piano; its lack of variety was monotonous.