All credit to Lars 
                  Ulrik Mortensen and his collaborators in continuing their work 
                  to present neglected Danish symphonies of the late eighteenth 
                  and early nineteenth centuries.
                Gerson’s overture 
                  will instantly fall into place for you if you know the un-named 
                  Schubert overtures and the first two symphonies. There are many 
                  familiar echoes and much choice writing for the woodwind. Gerson 
                  also owed fealty to the Mozart of the Marriage of Figaro overture, 
                  the Haffner symphony and the famous G minor symphony. It’s all 
                  very entertaining and easy to like.
                Turning to the Gerson 
                  symphony we hear again the influence of Mozart and this time 
                  the more exalted halls of the Jupiter Symphony. It is not by 
                  any means an echoing tribute work for it has some fascinating 
                  touches including the wounded cries of the woodwind in the brass 
                  climaxes of the first movement (tr. 2, 3:00). After a tentative 
                  and tenderly delicate Andante comes a skippingly engaging Menuetto. 
                  The finale is confident and works very well in a jovial and 
                  good-naturedly regal way. Here perhaps there is a touch of stiffness 
                  and a hint of caution but I cannot work out whether this is 
                  down to the music or the playing. 
                Both Gerson and 
                  Kunzen were from North Germany but spent musically productive 
                  years in Denmark. Kunzen’s symphony again apes the Mozart manner 
                  in the Allegro moderato but while the backdrop of the Andante 
                  is Mozartian there are prominent lines for the woodwind that 
                  point towards Weber. After a Haydnesque Menuetto I and II comes 
                  the fascinating Presto - full of original touches and sentiment. 
                  The firm rhythmic writing is punched home by the horns mellow 
                  but emphatic.
                Mozart does loom 
                  large here but then we can also hear the stirrings of voices 
                  arrogated by Weber and early Beethoven. 
                The usual rewardingly 
                  in-depth documentation from CPO; welcome even if the writing 
                  is almost invariably slightly indigestible.
                If you are in the 
                  market for some delightful and freshly imagined orchestral music 
                  in the Mozartian vein then look no further.
                Rob Barnett