The Unitarian Church, Budapest, continues to provide a warm, flattering tonal blend but a texture that is a little too ample for early Haydn, while the fairly close microphones reduce the dynamic range. However, the Kodály’s friendly style and elegant finish suite early Haydn. These performers find exactly the right degree of expressiveness for the Adagio of Op. 2/4 and are equally at home in the engaging Andante ed innocentemente which opens the first movement of Op. 42, a splendid work, written a quarter of a century later.