The booklet-notes for this release cite the term ‘Berlin Classicism’ for the school of talented composers working at the court of Frederick the Great, the point being that they represent not some failed branch of the ‘Viennese Classicism’ of Haydn and Mozart – seemingly still the goal which most music of the mid-18th century is assumed to have aimed for – but a distinct musical culture of their own. There certainly is a family resemblance among the works presented here: the formal experimentalism, nervous driving energy and restless spirit that are usually associated with CPE Bach are also on this evidence characteristic of JG Graun, Christoph Nichelmann and Frederick himself.

Graun is the oldest of them, his music the most Baroque in flavour – the French-style Overture and concerto-like Allegro especially, but also the strong-boned Concerto for viola da gamba. Frederick’s Flute Sonata (one of over 120) is oddly cast as a recitative-cum-arioso followed by a polite allegro and a fugal-style finale, all lent expressive warmth here by the choice of fortepiano as continuo accompanist; and the fortepiano likewise brings added depth to a Keyboard Concerto by Christoph Nichelmann built on CPE Bach-like lines but lyrically and harmonically smoother, especially in the velvety central Adagio. Next to these, the inclusion of one of Bach’s brilliant ‘Hamburg’ symphonies seems a little perverse – its sense of exuberant release is usually attributed to his relief at escaping Berlin servitude.

There is no need to say much about the Berlin Akademie für Alte Musik’s performances; they show all the urgent intent, vibrant sound and expert ensemble playing we have come to expect from them. What better outfit could there be to celebrate Frederick’s 300th anniversary year, and what better repertoire to mark their own 30 years together? Let us hope for at least 30 more.