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The Concerto in G major, Hob. XVIII: 4, comes from a later period, scored for harpsichord or forte piano and strings with pairs of oboes and horns as required. It was written by 1781 and in spite of it's undoubted authenticity fell under suspicion from contemporary critics, since the name of Haydn was now being used unscrupulously by ambitious publishers and promoters. It has been suggested that this concerto, a work of obvious charm, was written for the blind pianist Maria Theresia Paradis, for whom Salieri and later Mozart wrote concertos. Asecond G major Concerto, Hob. XVIII: 9, written by 1767, is of more doubtful origin, whatever it's clear attractions, characteristic enough of the composer to whom it was ascribed. It's first movement, which opens with a forty bar orchestral exposition before the entry of the soloist, includes idiomatic keyboard writing in it's syncopation and triplet semiquaver figuration. It is followed by a G minor slow movement and a cheerful final Tempo di Minuetto. The best known of all keyboard concertos either attributed to or indisputably by Haydn is the Concerto in D major, Hob. XVIII: 11, designed for harpsichord or fortepiano and written at some time between 1780 and 1783. It is scored for the usual orchestra of two oboes, two horns and strings and appeared in a variety of editions in 1784 and thereafter. The opening orchestral exposition is entrusted to violins and violas, later joined by the whole orchestra before the entry of the soloist. The A major slow movement gives an opportunity for the display of some virtuosity and is followed by a lively and inventive Hungarian Rondo, with episodes that suggest the Turkish fashion explored by Mozart in his A major Violin Concerto.