The 1780s was a seminal decade for the development of the string quartet. In the spring of 1782, Haydn published his set of six quartets Op. 33, establishing the modern form of the genre. Mozart had already been inspired by Haydn's earlier collection of quartets Op. 20, but the new works prompted him to produce a set of his own, the so called 'Haydn Quartets', which took the form to yet a new level. These works in turn inspired Haydn to compose a series of further masterpieces.

Mozart and Haydn played these groundbreaking works together at Mozart's house in Vienna, supported by two fellow composers, Johan Baptist Vanhal and Karl Ditters von Dittersdorf. These must have been extraordinary gatherings.

The Chilingirian Quartet endeavoured to conjure up something of this world in their recital last Friday at the Jacqueline du Pré Building. They opened with Haydn's Op.50, No. 4 published in 1787. This was followed by the fifth of Mozart's Haydn quartet's K464 in A, with Haydn's Op.64, No.4 in G concluding the programme.

The opening Haydn quartet, which is in the rare key of F sharp minor, is a demanding work with some extraordinary music in it. The final movement - a fugue - includes harmonies which sound almost modern. All of these works display great economy. The first movement of the Mozart draws on little more than the violin's opening phrase for its development. The minuet then follows based on closely related material.

The second of the Haydn works, unlike the F sharp minor, has a bucolic air. The lyrical slow movement with its hint of pathos contrasts beautifully with the gay minuet which precedes it and the witty finale which whirls along like a gig.

The Chilingirian quartet played with warmth, intelligence and feeling. The slow movement of the Mozart was particularly moving, and the second of the Haydn pieces included some engaging moments. At times, the playing seemed slightly ragged, particularly from the violins, but these were nonetheless enjoyable performances. The audience showed considerable appreciation, prompting the bonus of the lovely Andante from Haydn's Op. 64, No.6 as an encore.