Krumpholtz’s Andante du celèbre Haydn is in fact the slow movement of Symphony No 53 (L’Impériale), while Louis-Charles Ragué’s X Symphonie d’Haydn arrangée pour la harpe takes three movements from Symphony No 71 and likewise lays them out for harp and violin. The tempo-marking Vivace is retained for the finale, even though it is taken at about half the speed of an orchestral performance, to allow for the mechanics of harp-playing; nevertheless, it is effective on its own terms. So, too, is Roxolane d’Haydn by the euphoniously named Exupère de La Maniere, which borrows the slow movement of Symphony No 63. Sophia Dussek’s God preserve the Emperor requires no further explanation.

Raffaele Pe is the pure-toned countertenor in a selection of Welsh and Scottish songs by Haydn and Leopold Kozeluch. The disc concludes with a Petite Mosaique sur La Creation d’Haydn by Nicolas-Charles Bochsa, which runs through some of the oratorio’s hits and might in the later 19th or early 20th century have been dubbed a ‘grand fantasy’ or similar.

Chiara Granata plays restored instruments from c1790 and c1825 and is subtly accompanied by the violinist Anaïs Chen and cellist Marco Ceccato in most numbers. By its nature, this is not a recital that reaches out and grabs you but it nevertheless provides over an hour of gentle, unexpected pleasure.