The more I hear of Louise Farrenc’s music the more I like it. Paris-born Farrenc (1804-75) composed three Symphonies, the two here are both in four movements. Farrenc wasn’t a musical advancer, a boundary-breaker, and one can hear traces of Mendelssohn, Schubert and Schumann, the latter was an admirer of Farrenc’s music, as was Berlioz, yet she evokes numerous emotions, has a particular melodic gift, and is an impressive orchestrator.

The First Symphony (C-minor, Opus 32) has a dark slow introduction leading to a dramatic first movement, then a rather lovely Adagio, a terse Minuet with a light-filled Trio, and a resounding Finale. Symphony 3 (G-minor, Opus 36) trips along beguilingly, the slow movement is an eloquent song-without-words, the Scherzo (not a Minuet this time) is feverishly driven, and the Finale journeys with confidence to a satisfying conclusion.

Laurence Equilbey and her period-instrument Insula orchestra do Farrenc’s music proud – sympathetic, shapely, lively, with personable and fruity woodwind solos (instruments Farrenc writes especially well for), and the timpani have vivid presence. The recording is excellent in terms of clarity and impact.