From the opening notes of Wednesday evening's concert, as the intricate themes of Franz Joseph Haydn's 'Quartet in B-flat Major, Opus 76, No. 4' took shape, it was clear the Ying Quartet are exceptional musicians.

They are siblings; this relationship may account for the extraordinary instinct they seem to have for one another's musicianship. At the same time they are also extraordinarily proficient and deeply thoughtful musicians.

Both the phrasing and texture achieved throughout this concert were quite exceptional, a clear indication of the care this quartet took in their interpretation of all the works, from the Chinese American 'dim-sum' (a sampling of lighter pieces of this genre, as violist Phillip Ying explained) to the intricacies of the Haydn quartet.

This piece, which is also known by its nickname 'Sunrise', was for me the highlight of the evening. Thought by some to musically describe the early morning, the programme notes say: "Rarely, if ever, did he equal its luminous spirituality and depth of feeling." And rarely can a quartet have met the dynamic challenges of this piece with such success! This is a complex work and was intricately performed; it was also evident that every phrase was carefully thought-out, providing a richly textured performance that was deeply satisfying to hear.

While the Haydn quartet was the highlight, the concept of the Chinese American 'dim-sum' was intriguing, and a rare opportunity for the audience to learn about this genre. Phillip Ying explained how the quartet selected three Chinese American composers to provide the audience with a taste of their work - hence the term 'dim-sum.'

The first was 'Drum and Gong', from 'Eight Colours for String Quartet' composed by Tan Dun (famous for his music in the film 'Crouching Tiger, Hidden Dragon'), which opens with a dramatic and strong movement that makes spectacular use of pizzicato, and where the musicians also were required to strum their instruments - yet the Chinese theme that ran through it was instantly recognisable.

The second movement stood out; it was called 'Clouds' and so it was surprising that it is so contemporary. Dominated by a series of high-pitched sustained notes it paints a fantastic, futuristic musical picture.

The second composer in this 'dim sum' wrote of his feelings and impressions on visiting a magnificent Buddhist temple that had been destroyed during the Cultural Revolution. It is another fascinating musical description, reflecting the magnificence of the temple and what it must have been like prior to its destruction, the sadness that it has been destroyed, and the violence of that act.

Much use is made of a method of muted staccato in the first movement - an interesting approach that paints an extremely vivid picture of the praying and chanting monks, as the composer sought to do. The second movement reflects sadness about what has occurred, although perhaps a cello pizzicato section within this section indicates some hope for the future. The movement concludes reflecting the extreme violence that was wrought on the temple. This extremely visual part effectively describes the destruction and chopping that led to its abandonment.

The Ying Quartet's performance of this dramatic piece achieved remarkable contrast between the murmuring of the monks and the dreadful violence with which the temple met its destruction, again demonstrating the care and consideration they give to each piece.

Finally, they performed a work by Chen Yi. 'Shuo' was inspired by Chinese folk music, and the composer also sought to "paint a delicate Oriental landscape". Gentler than the preceding pieces, there is, however, a pioneering spirit that is evident in her work, at times reminiscent of Aaron Copland, and is perhaps a reflection of her American experiences. It is a tapestry indeed, and woven quite beautifully by this quartet.

The concert concluded with Anton?n Dvor?k's 'Quartet in C Major, Opus 61'. Considered one of his best efforts, to paraphrase the programme, it demonstrates his imaginative use of tonality and his "incomparable gift for concocting melodies and rhythms of irresistible charm and gaiety".

It is another composition that called for the quartet to apply their skills and provide exquisite phrasing and technical mastery - and they did not disappoint.

It was no surprise that the audience insisted on an encore, and the Ying Quartet performed an American piece that was on the programme for last night's concert. After enjoying that preview, I'm sure that yesterday's audience had as an uplifting an evening as we had on Wednesday night!