With the Takacs Quartet on their current form, when only superlatives seem to do, there is a risk of indulging in hyperbole. But the fact is: they are peerless.

In the opening concert of the 2007 Bath Mozartfest, their performance of the Quartet in D minor K 421 was deeply thoughtful and moving, marked less by the dark foreboding that is Mozart's characteristic in this key than by an aura of restraint suggesting a gently fatalistic resignation. The andante movement in the relative major had a quiet serenity, while first violinist Edward Dusinberre gave the trio a delightful nonchalance. But it was the finesse of the finale's theme and variations that was revelatory. The combination of glowing tone-colours and impeccable technical control is in itself captivating, but it is the compelling immediacy of the Takacs' playing that engages one in every moment.

Such are the Takacs' sensibilities that the listener feels they are being led to the heart of every composer. Haydn's Op 74 No 1 in C major had immaculate voicing but a final exuberantly rumbustious stamp and the Quartet in C minor Op 51 No 1 conveyed the anguished passions of Johannes Brahms with an intense fluidity and eloquence.

The Florestan Trio will seem to get short shift, by comparison. But their Saturday morning concert was a positively heroic effort, with beautifully detailed performances of Mozart's Piano Trio K 542 in E flat and Schubert's in B flat, D 898. For most, though, the surprise was Saint-Saëns Trio in E minor, Op 92, a five-movement work on a massive scale. This was brilliantly executed and a strong antidote to the lingering suspicion that Saint-Saëns was merely a carnival composer.

· The Bath Mozartfest runs until Saturday. Box office: 01225 463 362