The venue is still being renovated, the beer garden next door gets noisy whenever the weather is half decent, and the resident piano is rustic at best. Yet the plucky Cottier Chamber Project goes from strength to strength. During its first year, the series has welcomed Scotland's finest small ensembles: Red Note, the Dunedin Consort, Scottish Ensemble, and Scottish Chamber Orchestra soloists with pianists Steven Osborne and Alasdair Beatson have all performed on its rough-and-ready stage.

All 28 concerts in the three-week series are an hour long, inspiring most performers to devise quirky small-scale programmes. The Hebrides were a case in point: violinist Zoë Beyers, violist Jessica Beeston and cellist William Conway appeared in trio formation, opening with Schubert's youthful fragment of a String Trio, D471, played prettily if without muscle. Next came three of György Kurtág's Signs, Games and Messages: the whispered Virág Az Ember, heated debate of Perpetuum Mobile and the troubled contemplation of Ligatura Y. These are tiny sonic experiments – fastidiously controlled snippets of texture and conversation, well served by the Hebrides's careful interchanges.

Peter Maxwell Davies wrote his String Trio as a memorial for Karen Aim, the Orcadian backpacker murdered in New Zealand in 2008, and the Hebrides premiered it the same year in the presence of Aim's family. Last night they played the score attentively, almost shyly, keeping strict time during the restless Scotch snaps, and quiet sobriety through the plaintive fiddle lament and haunting, shifting drones. The programme ended with Ernö Dohnányi's feisty Serenade Op 10, a piece so full-blooded it might have been written for five times as many players, and which the Hebrides's trio attacked with refined gusto.