An audience at The Sage Gateshead was transported back in time to 1920s Paris, with those normally in front row seats invited to take their places at cafe tables for a diverse mix of chamber music from Northern Sinfonia players.

Guest pianist John Reid opened with Faure’s Nocturne No 13 in B minor. Written in the composer’s twighlight years in the isolation of a debilitating deafness, the work has a passionate central passage, which Reid conveyed with searing intensity.

Milhaud's String Quartet No 6 was followed by Ravel’s Tzigane for Violin and Piano, which featured dazzling playing by violinist Andrew Harvey. He opened with an expressive monologue, ensued by dexterous fiddle-work in the dancing section.

Reid had the floor in a rare performance L’Album des Six; a series of miniature suites by composers who represented the new guard of the 20s. The works of Auric, Durey, Honegger, Milhaud, Poulenc and Tailleferre brimmed with vitality.

Flutist Juliette Bausor then played Honegger’s quirky Danse de la Chevre.

The slow dreamlike introduction was delivered with poise, followed by a thrilling depiction of a goat skipping along after the snow has melted. Like the grass a goat prefers, the piece was short, but very sweet.

Cellist Louisa Tuck then paired with Reid in Debussy’s Sonata for Piano and Cello. “Loiusa always gives it her all,” was a remark overheard after the concert. Indeed, she put her soul into it, with unbroken bowing that oozed passion and finely-played filigree work.

Tuck and her long-time musical collaborator were clearly enjoying every moment.

The evening was rounded off with a rumbustious rendition of Poulenc’s Sonata for Trumpet, Trombone and Horn, played respectively by Richard Martin, Stuart Gray and Peter Francomb.