Joseph Haydn's 10 or 11 keyboard concertos are not among his most often programmed works. They date from the first part of his career and are generally conservative in style even for that period. The 1770s would be a possible period of composition for the three concertos recorded here, and although that falls into the window of plausibility for the use of a fortepiano rather than a harpsichord, a piano adds little to the sound. The music is sunny and uncomplicated, with little sign of the Sturm und Drang aesthetic of the period or of the tendency toward formal experimentation audible in Haydn's keyboard sonatas and string quartets of the period. Austrian pianist Roland Batik uses a Bösendorfer piano, perhaps the same one employed in the complete cycle of Haydn sonatas he recorded in the 1990s, and its mellow tones suit the music. The most suited to the piano is the Keyboard Concerto in D major, Hob. 18/11, composed around 1780, with its vigorous Hungarian-style finale nicely integrated with the work of the Academia Allegro Vivo under Iranian-Austrian conducotr Bijan Khadem-Missagh. The engineering, with a Japanese crew working in the Konzerthaus Weinviertel in the small east Austrian town of Ziersdorf, is another attraction. Recommended for large Haydn collections.