Haydn’s three ‘Times of Day’ Symphonies must be among the most-recorded of all the works of his very early period. In recent years they have appeared together in the continuing cycles by the Heidelberg Symphony Orchestra (the last sessions conducted by founder Thomas Fey) and Giovanni Antonini, and individually coupled with ‘Paris’ Symphonies and violin concertos by Aisslinn Nosky and the Handel and Haydn Society under Harry Christophers. They’ve become ideal showcases for go-ahead period groups intent on exhibiting their instrumental prowess as both ensembles and soloists since the standard-setting recording by the Freiburg Baroque Orchestra, which – can you believe it? – appeared all of 20 years ago.

Most of these recordings relish the advances made in period-instrument technique and display the collective and individual virtuosity of their players in performances that to some extent gloss over the idiosyncrasies and discontinuities of these often recalcitrant instruments. Less so here, where a small band based on a string section of 3.3.2.2.1 is directed from the flute by Ashley Solomon. There’s a distinct grain to the string sound, against which the soloists take turns to shine as specific personalities: perky oboes, imperious horns, cavernous double bass. There’s no harpsichord, in contrast to the FBO, so as to cast this carnival of characters in distinct relief.

A refreshing alternative, then, to the present proliferation of recordings of these symphonies. Perhaps, though, that’s enough couplings of Nos 6-8 for the time being: it would be interesting instead to hear what our many Classical-era groups might do if they cast their nets a little wider, to the imperious Symphony No 13, perhaps, the beautiful No 21 or – if they were after solo opportunities – the Hornsignal (No 31) or the deceptively early No 72.