Arriaga wrote his three string quartets in Paris, when he was 17; he died there before he was 20. They are remarkable music, with all kinds of echoes and pre-echoes. This Spanish group happily avoid too obviously a Viennese emphasis in the style they bring to them, and the lyrical Latin side comes out more strongly than usual. You may hear – not surprisingly from a Spaniard – hints of Boccherini, in the occasional explosive inner textures (the first movement of No 2), but more so in the lyrical lines and the major-minor shifts, with their melancholic flavour, especially in the D minor work. And here too they catch happily the vein of Romantic fantasy that surfaces in his music from time to time.

In the A major work I was struck by the way Arriaga often uses the cello in dialogue with the first violin, with harmonic padding in the middle (the opening is a bit like Mozart’s C major quintet in that); and the lyrical style this group use, most notably the cellist, emphasises happily the fluid bass lines that Arriaga so often provides – and which incidentally show the command and maturity of the 17-year-old’s technique.

No 3 is perhaps the most concentrated, the most earnest of the works, with its very Haydn-like way of turning a phrase in different directions, not to mention the brief storm in the pastoral slow movement and, still more Beethovenian, the C minor minuet, beginning on the cello, with shades of the Fifth. This young group bring to the music much warmth and sensitivity and a natural feeling for their compatriot’s language.