THIS first concert in the second Norton Music Festival got off to fine start, with a substantial audience enjoying a stimulating performance from this renowned string quartet.

This was despite the fact that regular cellist Jacqueline Thomas was indisposed, her place being taken by Sophie Harris, who, I thought, fitted in perfectly with a familiar ease and superbly confident playing.

The first half of their programme remained unchanged, with a nicely balanced set of Mozart, Puccini and Borodin. Mozart’s Adagio and fugue in C minor, KV546 is rarely heard; here, both the concentrated opening and the complex multi-layered fugue received intense but convincing performances.

Puccini’s Crisantemi, one of his rare instrumental works, is a touching piece written in memory of his patron who had died suddenly.

Borodin’s Quartet No 2 was a delight to hear, so full of melodies and with some extremely delicate playing.

Many of the tunes are more familiar from their later usage in the musical Kismet but it was a pleasure to hear what Borodin originally made of them. The final movement was the one that particularly caught my attention, beginning with tremendous concentration and becoming more passionate.

For the second half, the quartet performed Beethoven’s Op 131 String Quartet instead of Op 59, No 1.

This lengthy, demanding work began with a deep, intense slow movement, moving inexorably to the lengthy central section, which completely compelled one’s attention.

Indeed, the whole performance was a mixture of profundity and intimacy.

In this more intimate setting, it was fascinating to watch the different performing styles of the four musicians, from the more flamboyant to the cooler deliberate stance, but all working to the same purpose.

Peter Bevan