Cordelia Williams and Friends; those friends, Jamie Campbell, violin, Mark Braithwaite, viola and Tim Lowe, cello have obviously formed a fine musical bond that offered mellow, carefully crafted playing.

Though Mozart’s Piano Quartet No2 has Concertante moments for Williams’ fine piano playing, time has been spent on balancing this work with equanimity. Tenderness in the Larghetto further enhanced the overall feminine finesse of the whole performance. The finale’s sprightly, graceful ambiance showcased Williams’ nimble fingerwork in this delightful piece, though arguably a little more assertiveness from all players could have created a greater dynamic range.

Faure’s Piano Quartet No1 was finely characterised, a fairly robust opening melody running through with good momentum and dynamic shading. The Scherzo’s congenial melody permeated the outer sections; a muted central trio providing the foil.

The possibility of personal circumstances gave the Adagio a solemnity, finely evoked here and set off by the second themes’ reconciliation with past disappointment. The finale’s energy recaptured the vitality of life with considerable élan from these talented musicians.

Richard Strauss’s Standchen and Festmarsch are exquisite miniatures. The first piece capturing the watery charm of a barcarolle the second evincing the sound of a quartet flowing through the open doors of a café as a festival parade passed sun-soaked onlookers-a beguiling account.