Concorde, the new music ensemble directed by Galway-based composer and pianist Jane O'Leary, is presenting two programmes during this year's Galway Arts Festival. The first of these on Saturday included the premiΦre of a new work by Rob Canning, Construzione Illegitima, for clarinet (Paul Roe) and electronics.

It's a free-form piece (the performer gets to choose from the material the composer offers), which, using three microphones, electronic processing and delays, aims to play with acoustic perspective. The layout for the premiΦre at Galway Arts Centre was unusual. The mixing desk was not in the same acoustic space as the listeners and the placement of the loudspeakers seemed less than ideal - the one nearest to me simply dominated the electronic elements.

Perhaps this was how the composer wished it, but the whirling repetitions of the fragmentary material didn't open any new vistas on a first hearing.

The programme also offered some Stravinsky snippets in transformational arrangements for clarinet and accordion by Deirdre Gribbin, Elliott Carter's Gra for clarinet solo, a work written in the composer's fruitful 80s; Jacob ter Verdhuis's Night and Day for bass clarinet and accordion, which uses the bass clarinet as a sort of extension of the accordion and then plays chasing games between the instruments, and Sofia Gubaidulina's De Profundis for solo accordion, which transforms the instrument's bellows into an expressive resource on its own account, and which Dermot Dunne uses as a calling card to hint at the accordion's potential within new music.