In the first three, from his Op. 37, of these later symphonies – they date from 1786-7 – Boccherini’s language remains very individual and hardly symphonic in the Viennese sense. The themes are decorative rather than motivic, the manner is lyrical rather than dialectic, the instrumental style is soloistic; indeed the most appealing movements are the exquisite cello solo Lento in the C major work and the deeply poetic and nostalgic oboe solo (with cello) that forms the Andante of the A major. In the D minor work the trio of the minuet, for bassoon and flute, is especially charming. The opening movements are not without vigour, however: that of the C major is full of high spirits, and that of the A major is even more energetic. The D major work (from Boccherini’s Op. 42) shows more signs of awareness of what had been going on in Vienna, especially in the cast of the minuet and the main theme of the finale; the style is altogether less idiosyncratic, but that doesn’t make it a better piece.
Ross Pople and his group made a lively Boccherini symphony recording a decade ago (Hyperion, 9/87), which I remember enjoying, and this one is among the most spirited and appealing of the Boccherini performances I have heard in recent years. Tempos are generally quick, and the outer movements go with a splendid swing. But there is sensitivity in the slow ones too, and the minuets catch affectionately the tone specific to Boccherini. All the solo playing – no names are given in the booklet, unfortunately – is of a very high level. Here and there I wished for the sound and the articulation of period instruments; this is probably a factor in the way that once or twice the sound in the tuttis seemed quirky in balance. There is a useful and informative note by Robert Dearling. Altogether a disc I am happy to recommend.'