This very fine symphony has emerged from unfair eclipse by works of the master composers of the composer's era: Haydn, Mozart, and Beethoven. Twentieth-century revival of Boccherini's music shows it to be a pleasing work with fine ideas and characteristic colorful use of the orchestra.

Perhaps one reason Boccherini was nearly forgotten was that he accepted a job in a remote location. In 1769, he traveled to Madrid where he accepted a generous offer to become court composer for the King's brother, Don Luis Antonio Jaime de Borbon. Don Luis gave him period raises, assuring him of a good income. But it also kept Boccherini in Spain, at first in Andalusia and then (after Luis married morganatically and became unwelcome at the King's court) in out-of-the-way Las Arenas.

Boccherini's main contact with the European music world was through publication. The Paris firm of La Chevardière issued this symphony as part of a set of six designated as Boccherini's Opus 6, under the title "Six Concertos for Full Orchestra."

From the very beginning this symphony has a characteristic Boccherini sound. Boccherini was a cellist, in fact, one of the best cellists of his age. Don Luis had a string quartet on permanent staff, so Boccherini often wrote works in which he could join them, making a quintet of two violins, viola, and two cellos. When he wrote these symphonies, he adopted the idea of having two cello parts. The richness of sound resulting from dividing the cellos into two lines is a Boccherini trademark, and appears immediately in the introduction, in the slow tempo Grave. Another novelty in the scoring is that the double bass part is independent of either cello part, adding further to the fullness of sound. (In addition to the strings, the symphony calls for two oboe players and two hornists.)

The main body of the first movement is Allegro assai, starting quietly with a charming melody, but three measures later kicking the dynamic level up abruptly to forte. This soft/loud contrast is a main feature of the movement. Near the ending of the development Boccherini adds to the variety of scoring by writing for seven solo string instruments.

The second movement, Andantino, is a simple, warm, and melancholy song. A constant pulse supports this serenade-like melody, whose tempo is not especially slow.

The third movement continues Boccherini's interest in sound. Marked Minué amoroso it is in relatively slow tempo. Boccherini starts with a soft, dreamy texture, using just the violas and cellos divided into two parts each, contrasting with full orchestra sections in a forceful tone. The trio section of the movement is given to one of the woodwind players, who here is to play flute rather than oboe.

The ending, Presto assai, is a witty, Haydnesque romp making much use of imitation between the two violin sections. It is so fast, Boccherini successfully packs a complete sonata-allegro form into less than four breezy minutes.

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