Talented, technically adept and artistically very promising; but this quartet are not always consistent in interpretative foresight. And not inspiring in the first movement of No 4, which sets the ball rolling, far from mercurial in an Allegro di molto where the deceptive calm of crotchets alternates with the flash fire of quaver triplets. The Tinalley Quartet set a steady course, cautious in outlook; and objective in the slow movement – a theme, three variations and long coda all in D minor – refusing to give in to its scale and passion, implied by the marking Un poco adagio e affettuoso.

This is not always the case though. Be moved at the level of emotional involvement in the Affettuoso e sostenuto of No 1; and be pleased at how particular the musicians are about tempo and phrasing in the preceding Minuet and Trio. That too is an unexpected surprise after its equivalent in No 4, so politely played that the instruction alla zingarese reinforced by edgy sforzandos barely registers. Stay with No 1 and then wonder why the first movement, too fast for Allegro moderato, is also bland and without much expression; and why, between 3'25" and 3'38" in the development, a sort of mid-range pedal created by held notes from second violin and viola is drowned by loud first violin and cello lines. Then, chameleon-like, the musicians return to excellence in the last three movements of No 3. Why veer between the extremes of giving so much or so little of themselves?