The first thing one notices about this disc is the attractive sound, rounded yet detailed; the second is that the playing of the orchestra is stylish; last but not least, the soloist's first entry tells us that he, too, is a fine player. Rainer Kussmaul's name was unknown to me, but a note on the jewel-case says that he is about to become leader of the Berlin Philharmonic Orchestra. He produces a lovely sound on what sounds like an excellent instrument, and phrases gracefully: altogether this is most enjoyable Haydn playing. The three violin concertos and the Concerto for violin and keyboard in F, HobXVIII/6, are all relatively early, dating from about 1765-70, but that does not mean that they lack interest. Far from it: Haydn always wrote sympathetically for the instrument and the invention is also strong. Thus the Concerto in A, which begins this programme, is both sunny and charming, lacking a real slow movement (the middle one is marked Adagio but is on the busy side) but with a dashing yet melodious finale.
I like the other music no less, and the performances have an infectiously happy swing to them. The harpsichordist Robert Hill is discreetly supportive in the three works where that is his role, but rightly a co-soloist in the F major Concerto. In this work he is placed a little backwardly, but otherwise the recording is well balanced with a pleasingly full bass suggesting more than the two string players (one cello, one bass) listed in the booklet.'