Giovanni Antonini’s ‘Haydn 2032’ project continues in the same vein as Vol 1 (3/15), with a selection of symphonies from the composer’s Sturm und Drang period. Present once again are the pinpoint accuracy of the strings in driven tempi, brazen horns (an essential presence in all three works here) and oboes (in Nos 46 and 47) piercing through the texture. That’s a boon especially in a work such as Symphony No 46, in the rare key of B major, for which Haydn had to have new crooks made for his horn players. It’s usually given a fairly tentative reading on disc, the extreme key probably as much to blame as foreshortened rehearsal time for its not being ideally under players’ fingers.

No fear of that here, though. Il Giardino Armonico launch into it as though it were their calling card, revelling in its gymnastics but bringing a genuine warmth to the siciliano slow movement. Ditto for No 47, the one that so inspired Mozart (he made a copy of the score to study, the influence of which echoes in the opening rhythms of so many of his Viennese piano concertos). Symphony No 22 gives the disc its title and discards oboes for the mellower sound of cors anglais, mournfully intoning their way through that wonderful opening slow movement. Context is provided in a symphony by WF Bach, the eldest son of Johann Sebastian. This is one of a group of five dated by Grove to c1735-40 and veers from the French ouverture rhythms of its opening to more galant posturing, albeit exploiting dissonances that would have made Bach père’s wig quiver.

A harpsichord is present in the Bach but (thankfully) not in the three Haydn symphonies. The usual gripe: minuets are taken far too fast, tripping up the hypothetical dancers and preventing the phrases from breathing – a shame as each of the three minuets and trios contains something unique to delight the ear.