Two of the toughest of Haydn's Sturm und Drang symphonies plus one of the celebratory works which he wrote on emerging from that self-questioning period, make an excellent coupling in lively and stylish period performances. As recorded in a church in Haarlem, The Netherlands, the string sound may initially strike the ear as being a degree more abrasive than we have latterly grown used to from our own period-style players, rather more like earlier efforts, but the ear very quickly adjusts. Kuijken, as in his recordings of baroque repertory for Deutsche Harmonia Mundi, directs fresh, lively performances which wear their authenticity lightly, bringing out the dramatic qualities in these characterful works with sharp accents and clean articulation.

Kuijken tends to choose speeds for slow movements (as in both No. 26 and No. 52) which some authenticists would regard as too slow, but particularly in the chorale for two oboes in Lamentatione that makes the result all the more ominous, while in the 3/8 Andante of No. 52 he readily sustains what in relation to the rest is a very long movement (even without the long second half repeat observed) of nearly ten minutes. In atmospheric yet clear sound, this is a most welcome coupling of three works, all showing Haydn at his most inspired, which are currently unlisted in the Gramophone Compact Disc Catalogue.