No ensemble today would play D810 as does the Capet Quartet of 1928 (Opus Kura) because their 80-year-old performing style is obsolete. But the undeniably coruscating commitment of this group can be replicated just as entrancingly within modern conventions – as do the Jerusalem Quartet, in far finer sound too. These musicians do not, however, begin the first-movement Allegro as instructed. They treat the 14 bars up to the fermata as a slower introduction to a drama, one that unfolds tightly and coherently, incorporating changes in pulse to reflect varying attributes. As the drama extends to the other movements, the Jerusalem Quartet again pay attention to the importance of texturing through dynamics (note how the fabric alters when the articulation of the pianissimo theme of the slow movement is subtly varied during the repeats), and end with a finale of shadowy, driving vehemence.

The Quartettsatz is similarly approached. The Artemis Quartet are lighter and less tense but their view of the work is no less valid; and they include the fragment of a slow movement that Schubert abruptly abandoned after 41 bars. These artists do not, however, fully confront the gamut of emotions that runs through the String Quintet, at least until the last two movements. There is no questioning their technical expertise but the first movement is a tad swift for Allegro ma non troppo and grip on rhythm is a tad slack too. Unusually, the last chord of the exposition is omitted during the repeat. This practice is not officially authorised but it sounds right because the transition to the development is more logical.

Less logical is a reluctance to get under the skin of the slow movement. But not many grasp that nettle as unflinchingly as do The Lindsays and Douglas Cummings (ASV, 8/85), their long-drawn Adagio daring the music to overwhelm them; but it’s the listener who is overwhelmed by the rapture and rage laid bare. The Artemis and Mørk do nevertheless respond enthusiastically to the last two movements with the coda of the finale, speeded up progressively through two extra tempo markings, triumphantly held together. Very good recording.