Musicians queue up to work with clarinettist Martin Fröst, even if it could be pointed out that it does them few favours: his extraordinarily pure tone, sinuous phrasing and seamless breathing technique tend to throw any tiny inaccuracies elsewhere on the podium into a relief they wouldn’t otherwise have had. Still, they seem happy to risk it – and audiences aren’t complaining.

Here, in the opening concert of Fröst’s weekend residency and Wigmore Hall, in London, he was joined by soprano Miah Persson, pianist Roland Pöntinen and viola player Maxim Rysanov for a thought-through programme that began with a beautifully understated performance of Mozart’s E flat clarinet trio. Pöntinen’s piano sounded mellow and rounded, unassuming but with presence; Rysanov blended in with the others perhaps a bit too much, but came into his own in the final movement. When viola and clarinet briefly united towards the end, it was a moment of glorious richness.

Persson joined Fröst and Pöntinen for The Shepherd on the Rock. Was Schubert being unfair by writing the soprano such difficult, wide jumps, and pitting her against instruments with keys? Perhaps, but if Persson’s tuning sometimes didn’t land absolutely true, her singing was always expressive; the sustained middle section was lovely, the closing paragraph irresistibly jubilant. The lilting Romanze from Schubert’s almost-forgotten opera Der Hausliche Krieg was also beguiling, with Persson making much of the words and Fröst pensive in duet.

Schumann’s Fantasiestücke was the only piece that found Fröst alone in front of the piano, but even this was very much not a solo showcase, and at times the clarinet and piano seemed indivisible. There are no audible references to the composer in Kurtag’s Hommage à R Sch, but this set of precisely calibrated, mainly microscopic miniatures for clarinet, viola and piano still followed on beautifully, and the squeaks and growls Kurtag occasionally calls for lent a welcome edge to an otherwise mellifluous evening.