Assorted keyboard works by Haydn are here surprisingly juxtaposed with music by J. J. Fux (1660-1741), whose famed textbook Gradus ad Parnassum Haydn pored over in his youth. The Fux works, especially the A minor Suite, have their individual moments, though they don’t entirely dispel his reputation for dryness. Robert Kohnen is more successful here than in the Haydn sonatas, where he adopts some very dogged tempos. In any case, I don’t feel a harpsichord is the ideal instrument for these sonatas of the 1770s, which all gain from the subtler nuances obtainable on a fortepiano.'