Promise blossoms. The Artemis Quartet’s previous recording (of Op 18 No 1 and Op 127 – 12/10) was, despite a couple of reservations, an example of resolute integrity. Probity is repeated here, starting with Op 18 No 5, which opens the programme; and Basil Lam’s description of the first movement Allegro as “amiable” and of “cheerful, unaggressive energy” finds no sympathy with these musicians. Their combination of rhythmic control and dynamic accent shapes a line where tensions, relaxations, changes of pace and mood produce a dramatic force that is far from amiable or cheerful. Early Beethoven it may be but the music contains many a hint of future developments; and they are not lost on the Artemis, either here or in Op 18 No 3. The slow movement of this work, Andante con moto, feels like a first step that 25 years later reached the Cavatina of Op 130 and then the meditative counterpart of Op 135.

Lento assai, cantante e tranquillo is Beethoven’s direction for what in one of his sketches he also subtitled “Sweet song of rest or peace”. The Artemis don’t quite achieve “sublime paralysis” (Robert Simpson) but they compensate with an example of consistently superb ensemble, grounded by a strong cello line and refined by an internal balance where every voice tells. And if they miss some of the humour that others see in the first and last movements, they don’t at any stage slight the stature of the music. You are always made aware of greatness.