“Infectiously beguiling” might be a suitable epithet to describe the Henschel Quartet’s way with the opening movement of Op 18 No 6, vividness not over-dramatised, tempi and colouring altered to suit changes in character without sacrificing continuity. It is an indication of how expressive these musicians are when playing fast, the Scherzo equally beguiling with a lightly humorous Trio, the Allegretto quasi Allegro section of the finale suitably accented to suggest a dance.

But such assurance doesn’t extend to this movement’s Adagio introduction, of hushed pianissimi and searching hesitancy that Beethoven called La Malinconia. The instruction “to be treated with the greatest possible delicacy” shows up a weakness in the Henschels’ approach to a slow pace. They are often too loud, while the sort of refinement that they achieve at speed seems to defeat them here; and in the slow movement itself the even stressing of the slurred notes in the theme creates a four-square effect.

The gains and losses are similar in Op 127. The shifts between majesty and force in the first movement are well gauged, the scherzando third movement rhythmically fleet. Again, the epithet “beguiling” comes to mind. If the finale is occasionally less than resilient, this is overshadowed by a performance of the slow movement that causes the most disappointment. These musicians discern the intensity in the writing but narrow dynamics, inert motion and a texture not ideally transparent often negate their intentions. The recording spreads the group but the sound itself is very good.