Many are the concertos attributed to Haydn but these three are undisputedly authentic. The keyboard part in No 4 is within a narrow compass, and Andreas Staier introduces variety by ornamenting the slow movement and decorating fermatas in all movements – maybe to the dismay of those for whom the text is sacrosanct. But embellishing a line was normal practice and Staier’s realisation of it is very good indeed (he also plays continuo, and his own cadenzas, in all three works), even if he is ornate in places. But readers who are not convinced will prefer The Gramophone Award-winning Leif Ove Andsnes. He sticks to the letter and does so most artistically.

A rarity is No 6 for violin and keyboard, its outer movements the least interesting with sequential passages and often unadventurous writing that James Webster (New Grove) assures us ‘reflect a particular stylistic orientation, not limitations on Haydn’s imagination or his prowess as a performer’. The emotive slow movement (mostly a conversation between the two soloists) redeems matters and gives Gottfried von der Goltz a chance to show his mettle as a sensitive violinist.

He is an impressively adept conductor as well, especially in the finest work, No 11. The orchestral exposition is an ideal Vivace, the first theme lilting over repeated quavers generating the right degree of forward tension, and the bass line given its full due, oboes and horns colouring the texture tellingly. A similar degree of perception, with Staier’s contribution equally telling, is heard throughout. The partnership is synergetic, the interpretation august, on a par with Edwin Fischer’s of 1942. The concerto is revealed to be a substantial work, probably dating from the same period as the Op 33 Quartets, Symphonies Nos 73-78 and the Mariazeller Mass. The recording is expertly balanced and tonally truthful, though the transfer level is a little too high. An outstanding disc.