In 2011 the Hagen Quartet celebrate their 30th anniversary. In an interview documented with this 2010 recording they tell us that in Mozart their playing now “involves the pursuit of enhanced dramatic effect” to “illustrate certain emotional phenomena as vividly as possible”. In Beethoven they suggest that “it is important to us to express a similar deeply personal feeling” and that to continue “this emotional absoluteness is the recurring theme throughout all three pieces” in a programme “that is certainly representative for us”. I last heard this remarkable ensemble on a much earlier DG recording of three Haydn quartets where their playing could be described as supple, cultured, perhaps a little over-civilised but flawless and alert. Nowit is more strongly characterised, more involved and involving.

Beethoven’s Op 59 No 2 opens with bite and powerful commitment; the memorable slow movement is obviously deeply felt in its natural lyrical warmth and the finale is enjoyably skittish without being in the least trivial. Mozart’s K428 has both elegance and depth, with a beautifully judged Andante, a bouncing Minuet and a busy, joyful finale. It is a most satisfying account. Then come Webern’s extraordinary Five Movements, the second and last of them full of sustained tension, and the minuscule Bagatelles, haunting in their concentrated brevity. They are marvellously played and totally spontaneous. The recording throughout is first-class – forwardly balanced and full of presence. Altogether this triptych is a considerable achievement.