In the Op 6 Symphonies the frothy Italianate music of the composer's Italian and early London years was behind him; these pieces, dating from the late 1760s, while still Italian-influenced in their formal clarity and melodic style, are sturdier, more carefully composed, more symphonic.
Both the E flat works have something of the solidity and warmth associated with that key, and each has a C minor Andante. The G major's first movement has the confident ring and thematic contrasts of his mature music, and the D major contains Mannheim crescendos and some delightful textures, with flutes and divided violas, in its charming, slightly playful middle movement.
The set ends with Bach's single minor-key symphony in G minor, very similar in spirit to Mozart's No 25; this piece, often recorded before, shows an unfamiliar side to his musical personality.
Anthony Halstead and his players convey the music's strength and spirit convincingly. The lively finales all go with a swing, and the opening movements have plenty of energy. The slow movements aren't always quite so persuasive: the third C minor slow movement of the G minor Symphony is a little overly deliberate and becomes detached and modest in expressive impact. Generally, though, these are strong and appealing performances of attractive and unfamiliar music, clearly, slightly drily recorded. Admirers of the London Bach and his music needn't hesitate.