As the excellently written notes to this release point out, Beck probably would be far more highly regarded today had he not give up symphonic...

As the excellently written notes to this release point out, Beck probably would be far more highly regarded today had he not give up symphonic composition in the mid 1760s, turning his attention instead to that black hole of musical ambition: opera. The three works that constitute his Op. 4 (and the six of Op. 3) are quite wonderful, full of imaginative ideas, shapely forms, and effective orchestration. Consider the finale of Op. 4 No. 3, with its unusual harmonic scheme, tricky rhythm, and dynamic contrasts. It was the ability to make his music interesting by characterizing multiple parameters simultaneously that gives Beck’s symphonies their special kick, and allows them to be compared favorably to middle-period Haydn.

The principal competition for this release comes from CPO, and its set of Op. 3/4 played by La Stagione Frankfurt. Those performances employ period instruments, and these do not, but they are every bit as good. The strings play with appropriate rhythmic verve and (typically) smoother timbre, while the harpsichord continuo remains happily where it belongs–in the background. The oboes have a sweet tone characteristic of the Czech school of woodwind playing, and the horns blend well with them. Czech horn playing tends to be softer and more mellow in sonority then most modern schools, and I have to wonder if this is not in fact more “authentic” than the brassy, brazen tone typical of so many period instrument groups.

Whatever the reality, conductor Marek Stilec leads with well-jedged tempos and brings plenty of life to the music–energy without crudeness. This release will give a great deal of pleasure to anyone interested in the best symphonic works of the early classical period.

-- David HurwitzClassicsToday.com