No one could accuse the Cuarteto Casals of being reticent in these three of the six quartets that Mozart dedicated to Haydn, the works in G: K387, E flat K428 and C K465. They launch into every movement with tremendous relish, on such a tide of rich, deep string tone that they could be playing Brahms or Dvořák, and it comes with equally full-blooded, expressive inflections. It is very involving to begin with, as such musical generosity draws you into the performance – welcomes you almost. But after a while it all seems a bit too obvious and generalised. The habit of shaping every phrase the same way, so that each of them is turned into a crescendo, which can be heard right from the outset in the opening movement of K387, starts to be fussy, while the scoops and touches of portamento seem to belong to a different style of performance altogether. The musicality and warmth of the playing are never in doubt; it's just that the Casals' approach perhaps doesn't suit Mozart as well as it might later composers.