Little known to the general public, the music by John Garth (1721-1810) speaks a language whose rhetoric is imbued with the ideals of the post-baroque and pre-classical era. Although the orchestral writing tends to move away from the precepts of Baroque, it maintains the principle of the basso continuo and therefore the presence of a harpsichord, even if it is swallowed by the mass of sound instruments that surround it. The six concertos for cello and orchestra that we have here witness a period of musical history which is often overlooked, lying as it does between two absolutely dominant epochs. Not necessarily equal in genius, some concertos are more inspired than others, which may disconcert some listeners who will wish to make their own choice from among the six concertos presented. Personally, we have a preference for the last three concertos which show greater affinity with the baroque.