Despite its modest population of about 400,000 – that’s roughly the size of Bristol – Iceland punches significantly above its weight, artistically. Musicians from Víkingur Ólafsson to Björk, and composers from what has been called the First Icelandic School regularly top the bill in concert halls worldwide. But is there such a thing as an Icelandic sound? An afternoon programme of chamber and choral music suggested not. Casting its net wide, the 20th-century European mainstream was much in evidence. Hafliði Hallgrímsson’s Seven Epigrams for violin and cello, stylishly performed by Phoebe Rousochatzaki and Kosta Popovic, might have been by Schnittke. A homage to leading Soviet artists, it included a suitably jittery portrait of Shostakovich. The choral works, impeccably performed by the BBC Singers, were more idiomatically Icelandic, rooted as they were in a plainspoken Lutheranism. Anna Thorvaldsdottir’s sparse yet sonorous Hear Us in Heaven was the standout; Hjálmar H Ragnarsson’s tangy Ave Maria suggested Poulenc. More experimental works, such as Thorvaldsdottir’s quirky Sequences for bass flute, bass clarinet, baritone sax and contrabassoon, were intriguing, if …