This is a hugely attractive work of the early Classical era, showing great originality of form, fine melodic invention, virtuoso solo writing, and a colorful, soloistic approach to orchestral scoring, all elements that distinguish Boccherini as one of the best composers of the last third of the eighteenth century after Haydn and Mozart.

Luigi Boccherini (1743 - 1805) was the greatest cello player of his day. Coming from a musical family in the Tuscan town of Lucca, by the time he was 21 Boccherini was already renowned as "the great violoncello player."

He formed one of the first touring string quartets with his friend the violinist Manfredi. In 1766, they both found orchestral employment in Genoa, and received noble patronage. In 1767 they left for Nice, intending to travel on in stages to Paris and thence to London. Boccherini never returned. Despite wide acclaim and prospects for successful performances and commissions anywhere in Europe, they relied on a promise from a Spanish diplomat in Paris of employment with the Royal Court in Madrid, a promise never fulfilled. They both worked in a Madrid opera orchestra for a while. Boccherini married a member of the opera company, and took a job offer from the King's younger brother and stayed in Spain permanently.

There are 11 known Boccherini cello concertos. Most of these are uncertain as to dating. Most authorities consider this one as originating around 1767. This would make it almost certainly a work that Boccherini wrote during or even in anticipation of his trip from Genoa to Paris, surely to provide himself with a showpiece with which to dazzle audiences and attract a lucrative position with a nobleman or prince.

The concerto is 15 minutes long and is in the typical Italian fast-slow-fast form. It is fully in Classical style and form; in Italy the Baroque era was little more than a memory, and the thin, simplified music of the transitional Rococo variety had evolved into the more substantial Classical style. The concerto calls for a string orchestra with a somewhat novel addition of two flutes.

The opening movement, Allegro, is bright and charming in mood. The flutes are often present, giving a pleasing sheen to the sound. Boccherini disregards several formal conventions that had already arisen concerning Classical concerto writing, mainly in the way he cuts short developments and focuses almost entirely on the first theme in his condensed version of recapitulation. There is a florid cadenza shortly before the conclusion.

The Largo slow movement opens with an orchestral phrase, then rich oscillating sounds from the strings support a cello entrance that is in an arresting alto register, where it presents a beautifully lyrical main theme. There are two short cadenzas in this beautiful movement.

The finale is a brief piece marked Allegro piacere, an instruction that gives the soloist maximum discretion in setting tempo. Boccherini is content to use a single main theme, counting on tone colors and fluid movement from one key to another to prevent it from becoming stale.

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