The Rosewood Chamber Consort -- flutist Mary Beth Lewandowski, oboist Rebecca Staup and pianist Frank Conlon--displayed admirable range of style and taste last night at the Kennedy Center's Terrace Theater, their program leaping chasms from baroque to modern.

In the bargain, they presented some seldom-heard music, like Chesley Kahmann's delightful and witty 1964 work, "Five Dances for Flute, Oboe and Piano," that makes one wonder why such pieces get neglected. Since it was formed three years ago, this Washington-based group has aimed to shed light on some obscure works. Judging by last night, they seem to be succeeding.

With the notable exceptions of Quantz's "Trio Sonata in C Minor" -- the opening piece, showing off the group's talent for delicate phrasing and clear voicing -- and Mozart's "Sonata in D major for Piano," K. 576 -- played by Conlon at breakneck pace, his virtuosity exposed by the sparing use of pedal -- most of last night's program was relatively unfamiliar.

There was Alberto Ginastera's 1947 work, "Duo for Flute and Oboe," one of the famed composer's lesser-known pieces, a gem of rigorous counterpoint in a modern idiom, its fugue sounding more like an irrepressible Argentine folk dance than an exercise of intellect. And Cimarosa's "Concerto in D major for Flute and Oboe," this from a composer better known for ope'ra bouffe, a broadly comic romp in a late-baroque setting.

In all these works, as well as in Eugene Goossens' pleasing but forgettable 1924 piece, "Pastorale et Arlequinade," the Rosewood Consort showed both impressive commitment and high musicianship.