Playing on gut strings, thus creating a warm, grainy soundworld akin to analogue photography (as violinist Agata Daraškaitė puts it), the four musicians have drawn inspiration from editions of the time, including Ferdinand David’s own scrupulously marked-up parts, to present fresh accounts of the E flat major quartet ‘1823’ and Op. 44 No. 3. These two works paired together – the former is an early work, the latter is the composer’s penultimate achievement in the genre – allow for some revealing comparisons between styles at different points in Mendelssohn’s life.