Rachel Podger trails her assumption of the role of Principal Guest Director of Tafelmusik this autumn with a pairing of Haydn symphonies from concerts given at the ensemble’s Toronto base in February last year. Podger’s appointment is an astute one, as is this choice of works. Tafelmusik’s tone is at the mellower end of the period-ensemble spectrum and their work with such a stylish practitioner of historical violin performance brings out a new glow to the string sound that is amplified by two symphonies which, while exploiting flat-side tonalities throughout, are calculated to display the brilliance of a string group in all the contrasting moods they express.

It’s not clear how the nickname Mercury became associated with Symphony No 43 (c1771) but it is certainly mercurial in its lively outer movements. The Canadians display a thrilling unity of purpose in this faster music, their corporate intonation sure and their ensemble drum-tight – which is not to gainsay the colouristic contributions of pairs of oboes and horns. The second-movement Allegro di molto of La Passione (1768) sizzles with fury, although neither here nor in the Presto finale are tempos pushed to the extremes favoured by some recent contenders. On the other hand, the gentle con sordino of the Mercury’s second-movement Adagio consoles and offers flavoursome contrast with the rustic, horn-led Minuet that follows.

A harpsichord is a generally unobtrusive presence but it is the Tafelmusik strings who are the stars of this show. At only 52 minutes, another symphony would have been welcome – or even a more consistent approach to repeats, as the second-half repeat of No 43’s opening movement is omitted while all are taken in the Adagio. Nevertheless, this is an exciting and encouraging calling card for Tafelmusik and their new Principal Guest Director.