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Haydn, Violin Concertos, Midori Seiler, violin and conductor with the Concerto Koln. (Berlin Classics). Haydn’s music, though the work of a master, often has to be “sold” in a kind of special way. Our brains are more tuned into the more overtly passionate Mozart, the more fiery Beethoven. Haydn needs a real advocate – like the cellist Zuill Bailey, who brought a Haydn concerto to the Buffalo Philharmonic Orchestra and turned it on its head, joining the BPO in the opening tutti of the last movement, playing with endless wit and imagination, willing excitement into the piece. These performances are rather dull in comparison. Midori Seiler (not to be confused with the more famous, and more high-wattage, Midori Goto) is a lower-key artist, and in her hands the music has a kind of Baroque, obedient quality. There is interesting creative writing – the slow movement of the second of the three concertos, for instance, begins crazily with an unabashed ascending scale – but the music would benefit from a more flamboyant approach. It’s fascinating to hear a wistful concluding Romanze by the violinist and impresario Johann Peter Salomon. Salomon is remembered not so much for his music as for inviting Haydn to London, a game changer not only for the composer’s life, but for music. ΩΩΩ (Mary Kunz Goldman)