Aficionados of Adám Fischer’s revisiting of Haydn’s ‘London’ Symphonies will know what to expect from this final instalment. His nimble chamber band fields a lean string section that nevertheless isn’t lacking in firepower at tuttis – the explosive launch into Symphony No 102’s Vivace is a fine example. Corporate virtuosity is a given and provides immense pleasure at some of Fischer’s agile tempos, not least in the fleet-footed finales of all three works. There’s an earthy kick, too, to minuets and especially to the folkish variations that form the not-so-slow movement (definitely più tosto allegretto) of No 103.

Then, of course, there are the Fischerisms that, to some, add colour and personality to all his readings – or, to others, take liberties that distort Haydn’s intentions and place these recordings beyond the pale. I can take the exaggerated accentuation of the first theme of the Drumroll’s Allegro con spirito, and even the rasping trumpet flutter-tonguing seven seconds into the London’s Minuet (it’s marked as a simple trill in the Philharmonia score). But when effects that might charm if handled with a light touch are deployed dogmatically – the deathwatch tick of Fischer’s ultra-short staccatos (especially in the finale of No 103), the application of unmarked grace notes (Minuet and finale of No 104) and some vulgar portamentos (finale of No 104 again) – they become predictable and ultimately unwelcome.

Needless to say, those who love these works will have a range of recordings, from Beecham to Brüggen and beyond, to choose among – and Fischer himself is a regular returnee to this repertoire. His many admirers will be in seventh heaven, and even those more agnostic will revel in the drive and vivacity he unfailingly imparts to whatever he performs. I wonder where he will turn next in his lifelong quest through Haydn’s inexhaustible symphonic odyssey.