Both these discs are first instalments of complete Beethoven sets, and both offer technically secure performances with plenty of character. There’s something awesome about Valentin Berlinsky, approaching 80, and the Borodin Quartet’s cellist throughout its nearly 60 years of existence, embarking on such a large new project. And there’s no question of having to make allowances for age, as we listen to his marvellous playing of the great Adagio melody in Op 59 No 1 – emerging from the texture rather than projected on to it, and so retaining an intimate, inward quality. These Borodin accounts are distinguished by their feeling of spontaneity; the continual small rubati and emphases may be worked out in advance but sound like spur-of–the-moment inflections as each player ‘lives’ the music. Another striking overall impression is of tonal beauty, with a near-perfect blend of sounds. But does Beethoven always need to sound so lovely? I’d have welcomed a more tenuous, wispy tone for the mysterious introduction to Op 59 No 3, and more sense of unconstrained physical energy in the following Allegro.

The Prazák’s performances are robust and strongly expressive. They always allow time to make a rhetorical point, or to turn a corner; however, this can work against the impetuous character of many early Beethoven movements – the opening Allegro of No 4, for instance, which emerges as forceful and dramatic, but not sufficiently agitated. Similarly, in No 1’s Scherzo the tempo is brisk enough, but the rhythmic style is quite laid back, making it a comfortable, jolly piece – the Emerson’s exciting, almost grotesque version, surely more authentic, is achieved through subtly pushing the rhythm onwards and making the dynamic variations more vivid. The Prazák has a tendency, too, to exaggerate Beethoven’s many crescendi that end in a sudden piano, and to give every sforzando a biting attack. Nonetheless, there are some outstanding movements – all three finales are full of spirit, their witty unpredictability cleverly underlined. And the serene Andante of No 5 makes a wonderful contrast to the intense, sombre Adagio of No 1. There’ll be many more delights, I’m sure, in the volumes to come from both quartets.