THE Coull Quartet has an engaging platform presence, so committed to the music they perform, that the audience is encouraged to become involved too.

The musicians' awareness of one another was clearly evident, helping considerably in their lucid conception of the works performed.

Haydn's Quartet in G, op. 77 No 1, a late composition of 1799, recalled an old Croatian marching tune as a basis for the 'Allegro moderato', being well-accented, but also humorous and agile.

The 'Adagio' opened in unison with unanimously restrained phrasing, and the 'Menuetto (presto)' turned to pure delight at the mid-way change of tempo.

Quartet No. 7 in F sharp minor, op, 108, by Shostakovich, a very different artistic expression from the cheerfulness of Haydn, produced a feeling of foreboding. It was written as a requiem to his first wife, Nina, and is dedicated 'In Memoriam'.

The 'Allegretto', comprising short squiggles of tune, was passed around each of the solo string players, often against a persistent agitation from the other three; this led into the 'Lento' where haunting and plaintive melodies were entwined; a perturbed polyphony, and angry strident chords in the 'Allegro' eventually resolved into a final muted agreement, sweeter melody and harmony.

In Mendelssohn's Quartet in E minor, op. 44 No. 2, the First Violin immediately played a beautiful soulful theme with syncopated accompaniment from the other three, all the musicians moving with mutual understanding of dynamics and tempi.

The 'Scherzo' with a plucked cello melody, and rapid accompanying flurries of bowing, and the 'Presto' of many contrasts, concluded in expansive and melodious vein.

The encore, a slow Mozart movement, was ravishingly tuneful and calm.

JILL HOPKINS