Anne-Marie McDermott relishes Haydn’s fingery writing in this selection of sonatas and concertos, vividly inflecting phrases and taking an imaginative approach to ornaments and dynamics. She sprinkles a healthy helping of paprika into the Hungarian episodes in the finale of the D major Concerto (No 11) but it is the earlier of the two concertos here, No 4, that will perhaps be most interesting to Haydnistas. Usually recorded with an accompaniment of just strings, Scott Yoo and his Danish orchestra deploy oboes as well – presumably from a contemporary (albeit inauthentic or doubtful) edition. Not only that, but brand-new cadenzas are provided by Charles Wuorinen, who writes in a note that he has ‘long admired’ McDermott’s ‘unsurpassed performances’ of Haydn.

Thoroughly decent they are, too, and an excellent place to start if you’re coming to this music anew. The concertos have been well served on disc recently, with standard-setting recordings from Leif Ove Andsnes, Marc-André Hamelin and Jean-Efflam Bavouzet. Each of these, though, presents the concertos on a single disc, and offers also the F major Concerto (No 3), thus coupling the three undoubtedly authentic Haydn keyboard concertos together. Lovers of this music will also have been collecting Bavouzet’s and Hamelin’s continuing traversals of the sonatas, also benchmarks in their contrasting ways – not to mention the longtime standard recording of the complete sonatas by the late John McCabe.