Here is, in effect a complete Haydn concert—and a very enjoyable one on the whole. Concentus Musicus play as spiritedly as if they were communicating with a responsive audience, and the music chosen, though none of it really popular Haydn, is all excellent stuff. If you do want to hear it as a concert though, programme your player to start with the Overture: not only does this make sense in traditional concert-programme terms, it makes a wonderfully arresting call to attention. The sound of the period woodwinds—especially the low bassoons—as they alternate with the strings is delightfully rude, then comes a splendid tutti, with the full incisive force of the classical trumpets and drums. It's all beautifully recorded too; tuttis are powerful, solos intimate without too much performer noise, and the lovely acoustic of the Casino Zogernitz in Vienna (atmosphere plus perfect clarity) is well represented.
The only problem for me is the fortepiano (manufacturer and date not indicated). The clattery tone is acceptable in time, the smallness of the sound after the full weight of the orchestra is harder to take. Microphonic assistance (as in Steven Lubin's L'Oiseau-Lyre Beethoven set) isn't the answer. More characterful playing would help though, as it does in Melvyn Tan's Beethoven Third and Fourth Concertos on EMI. Herbert Tachezi's performance would probably be delightful on a modern piano, but the eighteenth-century instrument cries out for the sharply featured pointing which at his best Tan can bring out so convincingly. There are no such problems in the Sinfonia Concertante however, and this is a performance fully equal to the charms of the piece, with elegant, highly expressive playing from all four soloists in the Andante and humour from violinist Erich Hobarth in the finale's mock-tragic recitatives.'