It is always hard to compose a new piece in the shadow of an illustrious predecessor. But Huw Watkins and David Horne faced a special challenge: to write a work for the same line-up as Ravel's Introduction and Allegro for harp, string quartet, flute and clarinet. At the Wigmore Hall, the Nash Ensemble revealed the elegance and refinement of Ravel's piece, and the dazzling way in which Ravel melts the solo harp, here played by Lucy Wakeford, into the sonorities of the other instruments.

Watkins's strategy was to restage the relationship between the harp and the ensemble: instead of giving the harp the limelight, his new work, Gig, gave the virtuoso parts to the flute and clarinet. From the start, this was a work of terse, well-argued energy. Conducted by Diego Masson, the Nash players sustained the piece through to its memorable coda, a fragile, enigmatic flute line over a procession of harp chords and static string texture.

Horne's Splintered Instruments took a different approach. Full of vivid, expansive gestures, it was as if the glissandos and plucked attacks of the harp had taken over the whole ensemble. Swirls of colour mixed with one another, creating a musical kaleidoscope.

The Nash's performance was supple and expressive, encompassing the becalmed ripples of the slow music at the centre of the piece and the sonic splintering of the final section, with fierce string pizzicatos and the uncanny buzzing of Wakeford's harp. For all its fragmentation, Horne's music achieved a satisfying continuity, and a coherent, ever-evolving structure.