As Master of the King's Musick in 1756, much of English Baroque composer William Boyce's instrumental music was written for specific court occasions. These works, or "overtures," were included in large theatrical pieces and elaborate odes for birthdays, funerals, and holidays. To rescue them from complete obscurity, Boyce had these overtures or symphonies (interchangeable terms, at the time) published in two groups as Eight Symphonies in 1760 and Twelve Overtures in 1770. The Eight Symphonies owe much to German composer George Frideric Handel (1685-1759) who dominated the English musical landscape. While they are melodically attractive and rhythmically energetic, their harmonic and formal structures are rather conventional. Seven of the eight symphonies use the three-movement form that was based on the three-part Italian opera overture. Johann W. A. Stamitz (1717-1757) and other composers of the Mannheim school were already using the newer four-movement format that became the standard for Haydn, Mozart, and Beethoven.

Boyce originally wrote the Symphony No. 2 as an overture to his Ode for the King's Birthday "When Caesar's natal day" in 1756. All three movements are in the two-part binary form (AB) exemplified in the keyboard sonatas of Domenico Scarlatti (1685-1757). Each section is based on similar material and fully repeated. The open-ended harmony of the A section leads to the B section and back again, making the form continuous. It is clear that the important binary form led to the Classical era's sonata allegro scheme. But, the Baroque tradition is alive and well in this work as a strong bass line provides forward, on-going rhythmic drive beneath the frequent use of harmonic sequences. Each movement maintains a consistent feeling or mood throughout. The Allegro assai expresses a mellow, good-natured energy. A short recitative-like passage featuring solo violin leads into the Vivace, a relaxed, elegantly jaunty movement that anticipates the gallant style popularized by Johann Christian Bach (1735-1782). As is typical with the final movements, the Presto is in a triple meter that dances along delightfully. Boyce straddled two eras, clutching to hold on to Handel's Baroque coattails while tugging at J. C. Bach's Rococo shirtsleeves.

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