While Hill’s first three string quartets were reminiscent of Dvorák and Tchaikovsky, these three demonstrate new directions.
With the slow movement of Quartet No. 4 hinting at influences of Elgar, and Quartet No. 6 conceived in a kind of retro-classical idiom, Quartet No. 8 clearly marks the beginning of a new sound world, with hints of the musical language of the impressionists and a rather English sounding Finale.
Hill’s trademark slow movement gems remain a feature in all three quartets with the outer movements offering memorable melodies and much finesse in his string quartet writing.
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