The starkness of just four musicians against a black backdrop was a slightly disconcerting opening if you're used to the visual splendour of opera at Glyndebourne. But the lack of props or any diversion meant your focus was firmly on the acoustics, which, one imagines, was the intention.

The Tokyo String Quartet has achieved critical acclaim around the world since its formation in 1969. It's easy to see why. Haydn's String Quartet kicked off the proceedings, the melodic configurations perfectly suited to the balmy early summer afternoon.

This was followed by two pieces by the Austrian composer Anton Webern, whose music I was unfamiliar with. Even with my neighbour's "brace yourself for Webern" warning to her companion, the more modern arrangements by the composer, who died in 1945, came as a bit of a shock after the relative tranquillity of Haydn. Punchy, muscular and balletic, the pieces rang with discordant sounds, not in the least bit displeasing - quite the opposite in fact.

By the time Beethoven put in an appearance (metaphorically of course) for the finale, his String Quartet in C sharp minor op.131 seemed rather tame in comparison.