IFyou had not yet experienced the astounding technical advances of our newest generation of music pros, you needed to hear the Consone (string) Quartet. This multinational group, all of whom, tellingly, enjoyed important teaching in London, had already made an impact here as double prize-winners at last year’s York Early Music Festival competition.

But competition’s one thing, real-life performance another. Their unusual programme was youthful Mozart and Schubert, plus late Haydn, in that order, in period-instrument style. Though without a whiff of vibrato, their chording was impeccable. Their leader Agata Daraskaite’s coolness under pressure was formidable.

Mozart was 17 when he penned his K.170 in C in Vienna, that crucible where his role model Haydn had honed his own talents. The Consone respected its Viennese traits, but rightly resisted any temptation to gild the lily. Daraskaite’s decorations were admirably taut.

Schubert was probably 14, when he wrote his D.94 in D major, a work he would have played with his father and two brothers, stern critics all. The Consone revelled in its harmonic surprises, melodic twists and mock-dramatic tremolos. They also brought pleasing finesse to his D.89 minuets and trios.

The only truly red meat came in Haydn’s penultimate quartet, Op 77 No 1, where he threw caution to the winds. The Consone might have been more abandoned at first. But the finale absolutely fizzed, and Haydn’s wit and wisdom spilled out splendidly. A group to watch.