The Wihan Quartet are long-established fixtures on the quartet scene, having been founded nearly 30 years ago. They see themselves very much as upholders of the rich and vibrant Czech tradition, one that dates back to the Bohemian Quartet in the 19th century and which has since featured such distinguished ensembles as the Smetana, Prague, Talich, Vlach and – among the younger generation – Pavel Haas quartets. Indeed, the Wihan takes its name from the cellist of the Bohemian Quartet. Not for them the leaner, more sinuous approach of ensembles such as the Belcea and Artemis quartets. This is playing of warmth and emotion, captured in a bigger acoustic. In fact it’s such a generous acoustic that sometimes it sounds more like a string orchestra than a mere four players. In movements such as the Andante of D887 this tends to underplay the contrasts between the desolation of the cello’s high-lying melody and the shrieking drama that ensues, the forked, jagged writing left resonating in the air rather than cutting through it (the Artemis are superb here).

Some of the emotional impact of the music, too, seems to be a little unsubtly presented: the little hesitations and mental ‘breaths’ have the effect of apostrophising the emotion, while, near the outset of the Allegro molto moderato, the slowing of the tempo for the first violin’s melody against tremolo accompaniment dissipates rather than increases the tension. Most effective here is the third movement, for the finale lacks the sense of danger, of the potential for careering off the rails, that comes as standard with the most intense versions, the Belcea and Artemis among them.

As for the Quartettsatz, you only need a bar or two of the Takács in their compelling recent recording (set alongside a slightly less convincing Quintet) to experience Schubert-playing in a different league.