Modern instrument performances but there is a period-instrument feel to them. It doesn’t fit. In trying to imitate ‘old’ through ‘new’, in trying to transfer one kind of sonority to another, the Fauré Quartet slight both camps. But you couldn’t slight their playing at all. It is always impeccably coiffured, not a note out of place, ensemble precise. The opening movement of K478 is stark in texture, right for G minor. But Mozart’s ‘tragic key’ doesn’t touch these artists deeply because efficiency intrudes. They seem to stand on the fringes looking down on the music, rather than giving in to it and committing themselves to a warm response.

Perceived historical accuracy, also suggested by the added embellishments, may be the goal, and may explain the impersonality behind these performances that particularly affects both slow movements. They are beautifully expounded but are presentations rather than interpretations, not opinions but statements inviting listeners to make up their own minds. Some might find that acceptable. Others will find the lack of total identification with these works tantamount to a soulless offering. The Fauré Quartet are supremely proficient but, sadly, refuse to back away from safe ground.

Paul Lewis and the Leopold Trio are far more involved, and are tonally less etiolated, too. Yet there is room for a recording by a group that has the courage to stand up and be counted – as Clifford Curzon and members of the Amadeus Quartet did more than 50 years ago.