Commenting on the excellent coverage of the programme notes Levon Chilingirian, leader of the Chilingirian String Quartet, opted to introduce a little information on the quartets’ instruments instead, stating his violin dated from 1679 with Ronald Birks noting his violin was slightly later, from 1694.

Susie Meszaros’ Victorian vintage viola was from 1846 and Stephen Orton’s cello was made in 2001. Given the anecdotal observations on instrumental balance I will not encourage any internal dissatisfaction, merely saying that all was in accordance with the players’ perceptions!

The novelty of a saxophonist performing with a string quartet is something special and here Amy Dickson proved, at least in her adaptation of Finzi’s Interlude, Opus 21, (originally for oboe) to be very effective in range and that distinctive tonal quality.

A similar arrangement of Mark-Anthony Turnage’s Cantilena, despite my perception of its apparent avian associations, engendered little empathy from me.

For cheerful enjoyment Haydn seems to have the proverbial ‘Cheshire Cat’ on his side. The Quartet opus 76 No.5 does not eschew seriousness or indeed an element of mysteriousness in the moving Largo, but affectionate lyricism in the Menuetto and tearaway comedy that would suit a silent movie chase was greatly appreciated.

Ravel’s String Quartet in F major has become one of the most popular and here the Chilingirian players brought their wonderful musicianship to spellbinding effect.

Striking pizzicato writing in the second movement and the imaginative piquancy of Tres lent was crowned by the gorgeous instrumental timbres gilding the riches of the whole work.