Ensemble Surplus/ Katharina Wolpe, The Warehouse, London

It was the cultural philosopher Theodor Adorno who, in 1940, declared the composer Stefan Wolpe "an outsider in the best sense of the word. It is impossible to subsume him". Evidently, this is still the view of our own drear Radio 3, which celebrated the centenary of Wolpe's birth on 25 August by programming not a note of his music.

Yet this Berlin-born, Jewish, left-wing avant-gardist, driven by political circumstance via Vienna and Palestine to New York, not only epitomised the plight of the artist in turbulent times, but produced some of the most genuinely radical composition of the 20th century – music that, in its affiliations with some of the most advanced developments in the visual arts, literature and cinema, still sounds challenging as ever to traditional notions of continuity and synthesis, 30 years after Wolpe's death.

In the absence of other British celebrations, it has fallen to his daughter, the distinguished pianist and teacher Katharina Wolpe, to organise six concerts backed by the Stefan Wolpe Society. The opening programme by the remarkable Freiburg-based Ensemble SurPlus under pianist- director James Avery featured four of Wolpe's mature chamber works; music of relentless inventiveness and mercurial articulation, as demanding of its performers as its listeners.

In the fascinating amalgam of Arabic modality and post-baroque counterpoint comprising the Sonata for Oboe and Piano, and the zany collisions of abstract serialism and "found sounds" in the Piece for Oboe, Cello, Percussion and Piano, the oboeist Peter Veale revealed exceptional flexibility and staying power. And if the Piece in Two Parts for Flute and Piano and the Trio in Two Parts for Flute, Cello and Piano had their sketchy moments, where Wolpe's tempi are almost beyond playability, the music's character was always fully conveyed, and deserved a larger audience.

This duly turned up next evening for Katharina's recital of her father's piano music, from the post-Romantic Adagio, composed at 18, to the turbulent Form IV, written during a respite from the Parkinson's that was to kill him. In between, items ranged from such naughty Berlin stylisations as the Rag-Caprice, by way of the modally folkloristic Zemach Suite to the fantastical Studies. And Katharina's feeling for phrasing was confirmed by exquisitely poised accounts of the outer movements of the Variations, Op 27, by Webern, with whom Wolpe studied in 1933.

There are further recitals in this series by Rolf Hind (8 Nov) and Nicholas Hodges (6 Dec), and a chamber concert by Double Image (9 Nov). Don't miss out on this prodigious Modern Master.

Booking: 020-7960 4242