“I am no Misliwetcek! I am a young and decent-minded Mozart,” protested Wolfgang to his father from Mannheim in 1778 – a reference to his friend Josef Myslivecek’s sexual profligacy and resulting venereal illness. But while Mozart diplomatically disapproved of the Bohemian composer’s dissolute lifestyle, he had long admired the charm and spirit of his music.

In the booklet-note, Myslivecek scholar Daniel Freeman compares these half-dozen sinfonie concertanti – playable either by solo strings or, as here, by a chamber orchestra – to Mozart’s well known string divertimenti, K136-38. This gives a fair idea of the music’s style and scope, though whereas Mozart’s works are laid out in four parts, with much antiphonal swordplay between the violins, Myslivecek uses a five-part texture, with prominent parts for divided violas. The invention, especially in the cheerfully scampering or swaggering allegros, is shorter-breathed and more predictable than the teenage Mozart’s; and unlike Mozart, Myslivecek sedulously avoids counterpoint. But as on Concerto Köln’s Archiv recording of Myslivecek symphonies reviewed in March, several slow movements have an appealing vein of delicate sensuality: say, the opening Larghetto of No 6, with its eloquent chromaticisms; or the touching E minor Andante of No 4, the only minor-key movement in all six works.

Performances from the Ural (Kazakhstan) orchestra, numbering at a guess around 20 players, are adequate, no more. Except for the stodgily paced triple-time opening Allegro of No 2, fast movements bustle along agreeably enough, if without the polish and panache of Concerto Köln. Slow movements, though, tend to plod, a product of sluggish tempi and heavy, graceless phrasing. The compulsive explorer of classical byways will want this disc. But for the floating voter, the Archiv recording makes a much more vivid and colourful introduction to this likeable composer.