‘Beyond the Limits’ is the title of this album; and anyone who imagines CPE Bach as a diligent plodder at the court of Frederick the Great is in for a jolt when they discover his ‘Hamburg’ Symphonies for strings. This is Emanuel unbound, following the example of his equally inventive godfather Telemann. The six symphonies, commissioned in 1773 by the indefatigable Gottfried van Swieten (he of Haydn’s Creation) are volatile, flamboyantly inventive mini-masterpieces, perfectly calculated to thrill a patron who was simultaneously both Kenner und Liebhaber – expert and enthusiast.

There’s plenty of enthusiasm in these period-instrument performances by Gli Incogniti under their founder-director Amandine Beyer. Tempos are brisk, sometimes to the point of breathlessness, and Beyer makes the most of Bach’s spectacular dynamic contrasts. The ensemble is resonant and full-bodied – sounding bigger than the 14 players listed – and there’s no shortage of virtuosity. Van Swieten reportedly instructed Bach to write with ‘no consideration of the difficulties that the performers might experience’, and Gli Incogniti justify that confidence – even if the harpsichord continuo is at times almost inaudible beneath the group’s torrential tuttis and aggressive sforzandos.

The more plangent slow movements are nicely done, and with antiphonal violins the toccata-like opening of the A major symphony really catches the light. Reservations? The sheer force of that ensemble attack can feel a bit relentless, and Beyer has a tendency to lock on to a tempo and dig in. I missed the flexibility and wit that Riccardo Minasi brought to his 2014 set with Ensemble Resonanz. But since Beyer goes beyond van Swieten’s six symphonies to include the earlier E minor work (Wq177), this album is not directly comparable. Collectors will need to decide for themselves.