The first three of Richard Arnell’s six string quartets date from his sojourn in New York City. Composed in 1939, the single-movement First (an assured achievement for a 22‑year-old) was premiered the following year by no less august an ensemble than the Galimir Quartet. Its successor from 1941 is similarly compact (12 minutes as against nine), with two vigorous outer movements framing a central Andante con moto of uncommon eloquence. Both the Third Quartet (1945) and meaty, one-movement Fourth (1950) likewise leave the listener in no doubt as to Arnell’s command of the medium.

However, it’s the remarkable Fifth Quartet from 1962 which leaves the most enduring impression, the last four of its seven pithy movements laid out successively for one, then two and three players before all four combine in a superbly terse finale. It was a work, incidentally, much admired by Hans Keller, himself the dedicatee of Britten’s Third Quartet – which, curiously enough, Arnell’s piece seems to foreshadow in many respects.

Suffice it to say, the Tippett Quartet perform with heaps of commitment and supreme technical accomplishment; indeed, it’s hard to imagine this repertoire receiving more eloquent and understanding advocacy. Robert Matthew-Walker’s exemplary notes and Michael Ponder’s glowingly real sound add further lustre to yet another strongly recommendable release from those enterprising folk at Dutton. Don’t hesitate for a moment.