"This was an eventful day in the life of the Jacqueline du Pr", pronounced Marie-Alice Frappat, its administrator. She was referring not only to the new art exhibition, but to the pair of concerts offered by their quartet in residence, the Belcea.

The afternoon had seen a Family Concert, with an audience of more than 100 and a large quotient of five-year-olds listening to single movements from major works (including those repeated in the evening), learning musical techniques and quizzing the players on their instruments and methods. Now, seemingly rejuvenated, they took the stage again.

Formed in 1994 at the Royal College of Music, they have astonishingly had only one change of personnel; cellist Antoine Lederlin is a newcomer, but you'd never know, so close is the rapport and sense of conversation'.

They've played, toured and recorded everywhere, collaborated with every star performer, won awards by the dozen, and you can see why. They have astonishing dynamism and vigour, and the gift of total absorption in the music.

Haydn's Op. 76 belongs to his later, comfortable years, but he too in this Sunrise' Quartet writes like a youngster, using the simplest of themes repeated, exchanged, explored with a sense always of continuous development by a quick mind moving in the Adagio, explosively lively in the Minuet.

Shostakovich, surely the most tormented soul in music history, wrote 15 string quartets, extensively studied, played and recorded. The temptation always arises to seek and find political, personal, ironic, non-musical reflections of his life behind the notes. None more so than in his Op.73 quartet of 1946, contemporary with his Leningrad Symphony and certainly expressing the violence of war and the anguish of its dead. The music, jagged, aggressive, with screeching discords, tiny ominous repeated phrases, ineluctable marching rhythms moves to a brooding finale ending on a lonely little tune on violin over long sustained chords by the other instruments. Grief-stricken, yes, like many others but surely a universal, not just a personal, grief.

Mozart cleared the air with his K.499, named for his friend Hoffmeister, a playful, witty, mercurial piece where all the instruments are balanced, paired, contrasted, with lots to say to each other, ideally suited to these mutually-confiding players.

As an encore they gave the pizzicato movement from Bartok's no. 4 quartet which had gone down a storm in the afternoon. So forceful was their playing that the cellist broke a string.

More when the Belcea return to their residency next year.