The sheer zest, colour and sensitivity of The Lindsays make it for me the outstanding ensemble in this repertoire

The Lindsays are Haydn interpreters of rare understanding and communicative flair. Their characterisation is bold and decisive, enhanced by a scrupulous observation of the composer's expression and dynamic markings. Faster movements tend to be more urgent, less ruminative, than those from the Quatuor Mosaïques.
The zingarese cross-rhythms of No 4's Minuet have an abrasive edge, and the Presto e scherzando finale is no mere frolic in The Lindsays' hands – its wit can scathe and sting, and the closing theme, with its gypsy acciaccaturas, has an almost manic insistence. Elsewhere they bring an ideal warmth and lyricism to the opening movement of No 1, characteristically phrasing in long, eloquent spans, and a quixotic energy to the outer movements of the G minor, No 3, where the Quatuor Mosaïques is broader and tougher. In the Minuet The Lindsays' singing line and flexibility of pulse realise to the full Haydn's searching harmonic progressions; and the lulling E flat Trio is exquisitely floated.
Each of the slow movements reveals dedication and profound identification. The players vindicate their dangerously slow tempo in the sublime Affettuoso e sostenuto of No 1 with the breadth and intensity of their phrasing, subtlety of colour and feeling for harmonic flux. As ever, the occasional moment of impure intonation is a small price to pay for performances of such colour, character and spontaneity.
The Lindsays observe all the important marked repeats and the recording is vivid and truthful. Characterisation of the sharply contrasted Nos 2, 5 and 6 is invariably vivid, phrasing is alive and inventive, and the players combine a scrupulous care for Haydn's dynamic and expression markings with a strong feeling for the music's larger contours.