The musical language of Alfred Hill’s string quartets is reminiscent of Dvorák and Tchaikovsky with easily remembered melodies crafted within the harmonic texture of the romantic era, rhythmic vitality in the outer movements, and consistently beautiful slow movements of much charm. The blend of antipodean nationalism with the traditional forms and musical language of late nineteenth-century Europe brings a uniqueness and freshness that has appeal on a first hearing, yet reveals a wealth of underlying ideas on further acquaintance.