On the previous Casals Quartet disc we heard highly convincing performances of Debussy and Zemlinsky (7/05); for the very different world of the teenage Mozart, the quartet have adapted their playing in a remarkable way. In place of the sustained, cantabile style suitable for Zemlinsky, they now give us clear, bright tone, much senza vibrato playing, brisk andantes and a determination to avoid heaviness and sentimentality.

accelerandi and ritardandi. Some of the trios are taken at a completely different tempo from the corresponding minuet – those in Quartets Nos 9 and 12 are at virtually double time – and in several of the rondo finales the main theme tears away at top speed. Often the players seem determined to maintain maximum volume throughout a forte passage (in No 9’s first movement, for example) and sudden fortes are attacked with brutal force, giving the music quite an aggressive air.

Some of these surprising sounds demonstrate unusual musical insight – the implacable, sustained opening of No 11, for instance – and there’s some extremely beautiful quiet playing. But it’s rare to find a movement where the softer, more melting emotions predominate (No 4’s opening Allegro is one lovely exception). I’m torn between admiration for a group that can pursue its interpretative role with such independence and a realisation that important facets of this remarkable youthful music are being neglected. But do give this issue a trial – I can guarantee you won’t be bored.