The documentation makes no reference to these being live recordings but the atmosphere of the recorded sound gives a very ‘live’ effect all the same – beyond a range of up-beat sniffs and sounds of instruments being raised between movements. It may be just the very focused recording but the buzz in the air is almost palpable, along with Boyd’s audible enjoyment of the music. He has clearly worked closely with the Paris Chamber Orchestra on these six works and remarks that ‘people are often blown away when they discover this music, as the musicians of the orchestra and I ourselves were’.

You certainly hear the extent to which these six symphonies have got under the skin of Boyd and his players. Phrases are shaped and caressed to give every moment of the music a purpose and direction. Boyd keeps the music moving, not only in outer movements but also so that slow movements never drag or become weighted with ersatz sentimentality. Minuets are on the speedy side but characterised with care. The individual sound world of each symphony is enjoyed on its own terms – the sparkle imparted by the high trumpets of No 86 or the euphoric high horns of No 87, for example.

The symphonies are arranged not in numerical order but as a well-planned programme framed by the two most outgoing works, the Hen and the Bear. The two most stately works, Nos 86 and 85, occupy the central position on each disc, while the middle of the sequence places the two least often performed symphonies, Nos 87 and 84, next to each other. This draws the attention especially to these two works, highlighting their crafsmanship – especially the beautiful woodwind-writing that is so integral to them.

These are also intensely personal interpretations, although the many touches of individuality from Boyd and his players seem to grow in the main from the music itself, rather than being applied for effect. Perhaps the wilfully fast Trio of No 84 will not be to everybody’s taste; the waltzing lilt to the Trio of No 86, however, acknowledges its Austrian provenance. The music’s flashes of bizarrerie, however, are indulged without falling into mannerism à la Harnoncourt. Unlike Harnoncourt, Boyd and the Parisians omit second-half repeats in sonata movements and minuets, fitting all six works on two discs rather than the Austrian’s three. ‘These symphonies are not museum pieces!’ proclaims Boyd, and demonstrates his point in performances that are confident, vivacious and captivating throughout.