‘These superb LHQ performances set the standard for Haydn interpretation, yet the two CDs are available for the price of one’ (MusicWeb International)

‘Those who want a 'period' performance should not hesitate—they are unlikely to hear any better of its kind. Articulation is light, precise yet full of nuance; vibrato is scarcely detectable yet intonation is immaculate; the whole texture shines’ (BBC Music Magazine)

‘These musicians arrest attention by the variety of their bowing and articulation. They lean into notes, swelling and contracting the sound … to heighten the potential for expression … a very imaginative interpretation’ (Gramophone)

‘This splendid recording … Catherine Manson brings a nice rubato to the violin's flight in the first movement of Quartet No 5, and makes the most of the operatic recitative in the Adagio’ (Classic FM Magazine)

‘Playing with gut strings and classical bows, the London Haydn Quartet bring both freshness and depth to the six works that the composer wrote at Esterhazy in 1771’ (The Daily Telegraph)

‘Gut strings sometimes mean sour intonation, but not with this superb British group. Formed out of love for Haydn, they explore his repertoire with a light touch and kaleidoscopic colours. This second Hyperion survey brings the six Op 17 quartets … crammed with subtle pleasures. A set to bring long-lasting pleasure’ (The Times)

‘An ensemble unique in collective insight, in tempo-management, articulation of melodic design and assessment of harmonic weight … provocative interpretations of enthralling magnitude’ (Gramophone)

‘Their lean tone keeps everything impeccably clear, they avoid any sense of casualness, and they make the music sound austerely fresh’ (The Irish Times)

‘The players of the London Haydn Quartet, formed in 2001, refer modestly in their booklet notes to gut strings and Classical bows, saying relatively little about performing practice, but in this respect they are underselling themselves. These performances are not only emotive and truly stirring, but also hint at a good understanding of what we know of performance at the time of the 1801 Artaria edition they have chosen, with a clean yest warm sound, thoughtful stressing of dissonances, some welcome use of portamento and an intelligent and sparing use of vibrato’ (The Strad)

‘The commitment of this string quartet to one composer pays off. Their period tone suits Haydn's melodious down-to-earth writing and they capture the urbane wit and complex intelligence of Vienna's first superstar’ (Classic FM)

‘Lucky Haydn, lucky Haydn lovers … great clarity to textures and there are many exquisitely shaded ends to phrases among the innumerable brilliant moments’ (Early Music Review)

‘As in their previous releases, these four players led by Catherine Manson deliver an amazing precision of intonation and articulation’ (BBC Music Magazine)