This fifth volume in the Borodins’ Beethoven series is one of the best. It shows all the virtues of the previous instalments – beautiful, clear, expressive tone, confident technique and a natural, flexible, sensitive presentation of the musical argument. I still notice some of the same reservations experienced when listening to the earlier volumes – a tendency to iron out Beethoven’s dynamic contrasts (there’s little distinction between piano and pianissimo in the D major sections of Op 132’s slow movement) and an unwillingness to go to expressive extremes. Tone, accents and tempo all stay within a comfortable middle range.

There’s only one movement, I think, that’s really disappointing – the Allegro ma non tanto second movement of Op 132, where the lethargic speed and smooth phrasing fail to convey Beethoven’s dance-like vision. Everywhere else – in Op 132’s beautifully sustained Adagio and in the finale (not the most urgent account, but powerful and very well paced) – the Borodins are able to persuade us that their view of the music is well thought out and entirely valid.

Op 135 is especially successful, with a delightfully brisk, carefree first movement, a somewhat measured account of the Scherzo allowing room for brilliantly characterful violin playing in the middle section, and a slow movement whose flowing tempo precludes the profundity achieved by the Busch Quartet but which takes its cue from Beethoven’s instruction, cantante e tranquillo, in the most inspiring way. In the finale the optional second repeat is taken, and with such an impressive performance the extra appearance of the stern question ‘Must it be?’ makes a powerful effect.