The Takács Quartet come to the end, as it were, of their slow-burn survey of Haydn’s late quartets, following recordings on Hyperion of Opp 71 and 74 (12/11), which joined a vivid, generous set of Op 76 from another century and another life (only the cellist remains from those far-off Decca days – 9/88, 1/90). Op 77 (1799) was conceived as a set of six quartets in the manner of Op 76; in the event The Seasons became Haydn’s priority and only two of the quartets were completed. Late in life he embarked upon a companion work for the pair, Op 103 (1803), but the effort was too great and ultimately only the two middle movements appeared.

Being late works, all Haydn’s quartet concerns are present in spades: accessible melodies, harmonic sleight of hand, rhythmic fun and games and the rest. And being steeped in this music, the Takács respond to it with their customary naturalness and confidence. They respond to each other, too, in a demonstration of deep listening that results in moments such as the uncanny unisons of Op 77 No 1’s Adagio or that rare commodity, truly quiet playing, in the hymn-like Trio that undercuts the manic ticking of Op 77 No 2’s scherzo-in-all-but-name Menuetto.

The Takács take a simple approach to the incomplete Op 103, rather than freighting it with the ersatz sentimentality that often disfigures performances of valedictory works, and allowing the contrast between the tenderness of the Andante grazioso and the fierce angularity of the D minor Menuetto to make its full effect. And what a good idea to open the disc with Op 42, the other D minor singleton among Haydn’s quartets, providing a minor-key frame for Op 77’s major-key main course. Where (and when) will the Takács turn next on their unhurried Haydn journey?