The five symphonies by the 'London Bach' on this new Hungaroton disc have been chosen from three different collections. Bach's first set (Op. 3), though not his first essays in symphonic writing, printed in London in 1765, is represented by Symphonies No. 1 in D major and No. 2 in C major. From Op. 6 come Symphony No. 1 in G major and what is probably the strongest and best known work in the programme, No. 6 in G minor. Lastly there is Symphony No. 2 in E flat major from a set of three collected under the title Op. 9, printed in The Hague. Since the recording of the Op. 3 Symphonies by the Academy of St Martin in the Fields on Philips is no longer available, only one of the set, the G minor, comes in other versions, by the Collegium Aureum (Deutsche Harmonia Mundi (CD) GD77179) and the Zurich Camerata (Jecklin (CD) J4408-2). The E flat Symphony (Op. 9 No. 2) has been recorded by the Bournemouth Sinfonietta (Classics for Pleasure, 3/89), which leaves only the G major Symphony (Op. 6 No. 1) as new to The Classical Catalogue.
Concerto Armonico is a name new to me. It is a period-instrument ensemble whose directors are Peter Szuts and the harpsichordist Miklos Spanyi. The playing is lively and the style fairly informed, but there are some rough edges—especially noticeable in the wind section and upper strings—which detract from otherwise animated performances of these delightfully varied, often witty symphonies. Oboe entries, for example, are below pitch in the opening movement of the C major Symphony (Op. 3 No. 2). In the two pieces from Op. 3 Concerto Armonico prefer slightly more leisurely tempos than the Academy of St Martin in the Fields, and while I go along with them, at the same time I miss the crisp attack and disciplined ensemble of the other.
Outer movements in general come over more convincingly than the centrally placed slower ones—all the works are in three movements similar to Italian opera overtures, many of which Bach had composed before he reached England. The opening Allegro con spirito of the Symphony in D major (Op. 3 No. 1) is full of energy and strength as are the outer movements of the G minor (Op. 6 No. 6). Where the middle movements falter in these performances is in the difficulty sometimes shown by the players in convincingly sustaining Bach's expansive, aria-like melodies. In general, though, I found plenty to enjoy in these fresh-sounding and affectionate performances. As I say, it is slow movements which are most likely to disappoint. But there are all too few recordings of J. C. Bach's music available at present so these symphonies are welcome not least for that. Good recorded sound but the fulsome note contains errors.'