The Eusebius Quartet at Braishfield

  • 07:30 PM
  • Braishfield Church Room, Church Lane, Braishfield, SO51 0QH
  • 01794 368015

Saturday, 7.30pm

Join this exciting young String Quartet for an evening of music by Mozart, Schumann and Bartok.  Now in their third season together the Eusebius Quartet have gained a strong reputation for exciting and communicative performances and are looking forward very much to returning to Braishfield.
In Braishfield Church Room, on Saturday 8th July.

Tickets £20 (Students and Children Under 18 £10), available from Braishfield Music and Drama Society on 01794 368015 or email, or on-line at:

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Braishfield Music and Drama Society and the Romsey Festival are very pleased to welcome back the Eusebius Quartet, who have been going from strength to strength since their concert here in 2015. They were chosen as quartet-in-residence at the Wye Valley chamber music festival earlier this year. The members are all busy full time chamber musicians with international careers. The quartet’s leader, Beatrice Philips, has since 2012 directed her own chamber music festival in Lewes.

Mozart Quartet K490. This, Mozart’s very last string quartet was, like the others of the set, written for the King of Prussia. The King was a fine cellist and Mozart wrote prominent, high and rather flashy parts for the cello to please His Majesty. It is a rich and sophisticated work and a more than worthy end to a great set.

Schumann Quartet in A major op. 41 no 3

The quartet starts with a tender call to his beloved wife Clara, and the same theme is used to build the whole first movement. The second movement consists of variations on a plaintive theme. The exceedingly beautiful slow movement is somewhere between a hymn and a romance. The rhythms fly throughout the whole piece, and the last movement is simply one of the most rip-roaringly joyful things ever written.

Bartok quartet no 3

The 6 quartets chart the stages of Bartok’s life as a composer. Number 3 is the shortest and is written in one movement, with a clear and self-explanatory 4–part structure. It explores every possible string sonority and stretches technique more than any quartet Bartok had written before. The material is highly workedout but is still clearly rooted in folk music.