Carmignola combines historical performance practice with spontaneous touches of colour to make the most of Haydn's phrases. The Orchestre des Champs-Elysees match him in crispness and bounce.

Carmignola plays as if this music had been composed specifically for him, with all the tonal richness and agility required of him and with a pinpoint accuracy of intonation...There's no denying that these works aren't the last word in violin concerto composition but, performed as scintillatingly as this, they're worth an hour of anyone's time.

the outer movements bubble along here full of life and fresh-faced charm...Carmignola injects a level of colour and variety into this music which more than compensates for a gnawing that when he wrote it Haydn was not entirely brimming over with new ideas.

[Carmignola's] ability to generate intense emotions by the sparest means leads to unforgettable things in the First's adagio. The Orchestre des Champs-Elysées under its leader Alessandro Moccia are classy: their acerbic sound keeps the drama uppermost and prevents everything from becoming cloying.

Haydn’s three surviving violin concertos date from the 1760s, although they haven’t been much played since (they weren’t even published till the 20th century). Carmignola’s pristine performances with the Orchestre des Champs-Elysées should persuade us to listen again.