Small works perhaps, not in the same league as the masterpieces of the genre to come, but far from small beer. The London Haydn Quartet certainly see it that way, and they start with a judicious choice of text – an edition by Welcker published in London c1774. It differs in little details from Georg Feder’s 1965 version, based on Haydn’s autograph and early manuscripts. Some of them include markings in Mozart’s hand which suggests that he also took part in performances, playing the viola.

Gut-strung instruments are used here, and the recording very clearly reproduces the subtleties they convey. Watch your volume though because the transfer level is rather high. The violins are antiphonally separated, an arrangement that is particularly important in movements such as the Adagios of Nos 1, 3 & 4 where the second violin has a bigger role. Unusually, Haydn places the Minuet and Trio second in all the pieces and, very unusually, he has only one fast first movement.

These musicians arrest attention by the variety of their bowing and articulation. They lean into notes, swelling and contracting the sound (a sort of messa di voce) to heighten the potential for expression. The first movement of No 2 (Moderato) offers an example of this technique which is allied to discerning part-playing, fine grading of tone and flexible rubato. In effect, phrases are shaped to re-create the elements of drama, profundity, elegance and lyricism – and all things in between. A very imaginative interpretation.