I'd be careful about asserting that spring quartets and MUSA are 'telling the story of Europe'. First, even superficially, art music and grand houses are only tiny components of the European story. Second, at a deeper level, whilst string quartets and the particular styles of architecture seen in the large houses that are part of the network originated only in Europe, they are hardly exclusive to Europeans today. The many ethnically and culturally non-Europeans that perform/ create/ preserve/ own string quartets and/or large houses, may be surprised to learn that they've been put into the service of 'telling the European story' as opposed to the stories of two art forms (music and architecture).
I'd be careful about asserting that spring quartets and MUSA are 'telling the story of Europe'. First, even superficially, art music and grand houses are only tiny components of the European story. Second, at a deeper level, whilst string quartets and the particular styles of architecture seen in the large houses that are part of the network originated only in Europe, they are hardly exclusive to Europeans today. The many ethnically and culturally non-Europeans that perform/ create/ preserve/ own string quartets and/or large houses, may be surprised to learn that they've been put into the service of 'telling the European story' as opposed to the stories of two art forms (music and architecture).