The layout of the “Symphonies named after the times of day” score more closely approximates Haydn's own practices than in any previous edition. Haydn's distinction between violoncello, bassoon and violone has been retained throughout.
Despite many printed editions, recordings and a widespread opinion to the contrary, Haydn did not intend a harpsichord to take part in the performance of these works.
- “Le Matin ” Hob. I :6. BA 4670
- ”Le Midi” Hob. I :7. BA 4672
- “Le Soir ” Hob. I :8. BA 4673
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Le Toreador ou l'Accord parfait (F-G) (Urtext). : Large Score: (Barenreiter)
Le Toreador ou l'Accord parfait (F-G) (Urtext). : Vocal Score: (Barenreiter)
Concerto for Violin, Op.28. : Study score: (Barenreiter)
Concertino Op.21 : Study score: (Barenreiter)
Events No.1 : Study score: (Barenreiter)
Events No.2 : Study score: (Barenreiter)
Mikrographien, Op.24 : Study score: (Barenreiter)
Op Overture. : Study score: (Barenreiter)
Meli. Cantata, Op.17 (Gr-E). : Study score: (Barenreiter)
Kinesis ABCD, Op.31.: Study score: (Barenreiter)
Cheironomies (Gesten). Conductor's improvisation (without text). : Playing score: (Barenreiter)
Concertino Op.16b : Study score: (Barenreiter)