WHEN Peter Dangerfield, Rodewald Concerts Society Chairman, took to the stage to apologise for the fact the Royal String Quartet was in Liverpool, it seemed just a little strange.

True, they’d been to Hoylake Concerts Society just weeks previously – not to overall critical acclaim, it must be said – but, as Peter went on gallantly to explain, the Rodewald Concerts Society had booked them under an “exclusive contract” that they would not play Mendelssohn’s A minor, Op 13 Quartet within a large radius of the next venue.

But then they booked Liverpool. The reasons for this oversight are both quite funny. The agent – London-based, presumably, and therefore for whom The North is anything from Bristol to Billericay – thought Hoylake was “miles away”. Try Google Maps as a starter . . .

But, we are apologising for the return visit of a quite spectacular quartet? Would we, really, apologise for the RLPO, the Halle, the BBC Philharmonic – or any other ensemble, and they are only the orchestras in the North West – being on stage twice in a week?

That apart, this was an incredible recital. They replaced that Mendelssohn quartet with Haydn’s brilliantly sprightly B flat major quartet, Op 76 No 4, known as The Sunrise.

Here, this quartet showed some wonderfully subtle playing with, in the first movement, some well- articulated part playing. Sitting near the players, it was good to see how they maintained eye contact each with the other, thus developing – or cementing – relationships. It was a hugely disciplined and lively performance.

The second movement was sometimes dark but, at other times, full of light. Again, this was a translucent performance which led onto a sprightly and evidently enjoyable performance of the third movement followed by a rather plodding opening to the finale, which turned into a considerably exercised piece.

Szymanowski’s First Quartet produced a languishingly aching opening, imploring, praying even, though angry outbursts were never far away. That said, it was written in 1917 when Poland was not exactly experiencing its happiest period of history. At times, this movement was as fantastically full of pathos as it was of energy.

It’s always good to hear Dvorak’s American String Quartet, particularly to compare it to the New World Symphony. Notably, the composer said he’d written it in “a completely Czech place” – Spillville, Iowa, where – again – he felt at home.

Once again, in the first movement of this piece, there was a clear sound and a real sense of urgency. The second movement was massively plaintive, perhaps ponderous, while the molto vivace was sometimes explosive, at other times very introverted. The whole piece went forth on a feeling of joy and rhythmic exuberance.

To finish – they encored the second movement of Szymanowski’s Second String Quartet, a piece which showed this ensemble’s total exuberance.

They’re always worth a second visit.