The Seasons, Haydn’s secular follow up to the enormous success of The Creation, was the composer’s final masterpiece, and yet is heard far less frequently than its sacred predecessor.

A pity, as the libretto by the thoroughly enlightened Baron Gottfried van Swieten, is decent enough, and despite the composer’s failing health – the onset of cerebral arteriosclerosis meant it took him two years to complete – it displays few signs of flagging inspiration.

On 24th May 1801 Haydn conducted the work at court, with Empress Maria Theresa no less singing the soprano part: “She has great taste and expression, but a rather weak voice”, he remarked.

Haydn himself may have had other doubts: “As this subject cannot be as sublime as that of The Creation, notable differences will be found between the two. But, with God’s help, I shall devote all my energies to it, and, when I have finished, I shall retire because of my ailing nerves.”

Nevertheless, the work is full of inventive charm with an underlying message tailormade for...