I've spent some time trying to work out why this set left me with such negative feelings. The playing has clarity and at least a superficial liveliness, and the ensemble is good. Intonation falters in places—it sours the sweet lyricism of the Adagio of Op. 1 No. 3 and spoils a good deal of the Andante grazioso of Op. 103; but then the Lindsay Quartet can be far more wayward in pitch, and yet I've put up with it for the sake of their insight and vitality. No, the problem here is that the playing is too bland. As with one or two other recent Tatrai recordings I noticed a smoothing down of dynamic contrasts—particularly dispiriting in the first movement of Op. 42—and there are places where the manner is simply prosaic. With no competitors around for the Opp. 1 and 2 sets this is the only option, and probably will remain so for some time. Even so, let the buyer beware: there's a good deal more pleasure to be derived from Haydn's earlier quartets than this set would lead you to believe.'