Four works by two composers combine to create this hour-long concert of the sort that was common in Salzburg during Mozart’s teen years. Outdoor serenades (Nachtmusiken) were flanked by a pair of marches for the ingress and egress of the players, and consisted within of a chain of dance and concertante movements. Sergio Azzolini recreates a hypothetical such entertainment by combining some stray pieces by Michael Haydn (Mozart’s older Salzburg colleague) with the wunderkind’s Bassoon Concerto. Among the Haydn works are a further movement with solo bassoon and a pair for solo trumpet in the Baroque style, which give an idea how the tantalisingly lost trumpet concerto by the 12-year-old Mozart might have sounded.

Fruzsina Hara is the fearless trumpet soloist, taking the instrument way up into the stratospheric upper limits of its range – sounds we associate more with Bach, Handel and their contemporaries than with the composers of the Classical period. And as for the Bassoon Concerto, Azzolini is a spirited soloist. He plays an instrument from the 1790s of a type that Mozart would have known, and explains how the use of a period bassoon makes evident the challenges Mozart placed on his bassoonist (at whose supposed identity annotator Karl Böhmer makes an educated stab). Azzolini makes light work of all these difficulties, exploiting the instrument’s ruddy sonority to full effect and tugging gleefully at the pulse to turn in a performance full of character and humour.

This is purely entertainment music, so devoid of the intellectual wranglings of the symphonic and chamber style that both of the composers were to master. Frankly, the Bassoon Concerto is the best music here, but the remainder – including Haydn’s march-in and Mozart’s march-out – is finely wrought and beautifully played by the Streicherakademie Bozen, a German-named but Italian-based period-instrument band.