Op. 9 (written c.1769) marked Haydn’s emergence as the great pioneer of the string quartet genre. He later wished that these had been his first quartets to be disseminated among the musical connoisseurs and string players of Europe. Two previous sets of quartets had been composed about a decade earlier, but were brief, light works that were functional rather than the inspired and extended explorations we find in Op. 9. These performances by the London Haydn Quartet are marvellous. The group – making its debut recording for Hyperion – achieves a wondrous paradox between individual sensitivity on each line and an overall unity of ensemble.

Weightier movements which suggest more symphonic thinking on Haydn’s part are beautifully judged, with a perfect synthesis of elegance, warmth, emotion and taste. The lyrical largo from No. 3 in G major is a fine example of the quartets shapely playing and exquisitely balanced blend. Livelier quick music and minuets are also done with astonishing brilliance, gracefulness and intelligence. These are highly articulate, subtle and civilized performances. The players are obviously thoroughly absorbed in the music, and their curiosity in the repertoire is evident in their decision to eschew modern editions and play from the 1790 London edition published by Longman and Broderip. Richard Wigmore’s essay on the music is a perfect match of erudition and readability, and Hyperion’s sound engineering team have done a magnificent job. This is one of the finest Haydn discs I have heard in quite some time. DAVID VICKERS