The three works on this new disc from Nimbus demonstrate the advanced stage of solo writing for the horn by the 1760s. Haydn's Horn Concerto No. 1 in D major dates from 1762 and his much better known Symphony No. 31 in D major (Hornsignal) from three years later. The Horri Concerto in D major of his younger brother, Michael, belongs to the mid 1770s. In these two concertos the soloist is Anthony Halstead, whose firm control of his instrument—a natural, or valveless horn achieves rewarding results. The music explores a wide tessitura and skill is required in hand-stopping, or in other words in inserting the hand into the bell of the horn. Halstead turns in a virtuoso performance of both works; his phrasing is musical, his passagework brilliant and, in all but one or two passages, articulate in detail. He has provided his own cadenzas, which are both tasteful in substance and modest in dimension, and he is accompanied sympathetically by the strings and woodwind of the Hanover Band. The music is delightful though not, perhaps, especially memorable compared with the remaining work on the disc.
Haydn's Hornsignal, whose name derives from the imposing fanfare-like motifs at the symphony's outset and elsewhere, is scored for flute, two oboes, bassoon, four horns, strings and continuo. The horn players, who include Anthony Halstead, make an impressive showing, with various kinds of horn signals loudly barked out or more discreetly piano as the case may be. They are matched by lively string playing with clean entries and tidy ensemble. In the lyrical Adagio there is a prominent solo part for the violin, which is played here by the leader and director of the Hanover Band, Roy Goodman. It is a demanding wide-ranging piece and Goodman plays it with feeling for the tender character of the music; but, even so, there are occasional moments of tonal insecurity. The horns too have an important role in this movement and pair offinto instruments tuned in D and G so that they can contribute to the dominant as well as tonic key. After the beguiling Minuet and Trio comes the finale, containing a set of moderately-paced variations. Here there are solos, and difficult ones, too, for cello (Var. No. 2), flute (No. 3), four horns (No. 4), violin (No. 5) and violone (No. 7). Not all the soloists are equally secure but the movement as a whole comes off well. I would have liked more finesse and less wayward intonation in this admittedly technically demanding music but, even so, found plenty to enjoy in the spontaneous, warm-blooded playing. Good recorded sound and informative notes.'