Composer: Charles Avison
Works: Concerto Grosso Op. 9 Nos. 1, 4, 6, 7, 8, & 9
Performers: The Georgian Concert, leader Simon Jones
Recording: Recorded York, 2001
Label: The Divine Art Record Company 2-4108
Charles Avison, born in Newcastle in 1709, occupies a unique position in the landscape of 18th-century English music. As a composer and influential musical figure, he organized subscription concerts and served as cathedral organist, all while producing a substantial body of work that includes approximately 60 concerti grossi. The present recording features six concerti from his Opus 9, published in 1766, showcasing his distinctive style which blends melodic inventiveness with an undercurrent of melancholy. Avison’s concerti, designed for varied instrumentation—ranging from keyboard solos to string quartets—reflect the evolving tastes of his time while remaining rooted in the Baroque tradition.
The performances by The Georgian Concert under the leadership of Simon Jones are marked by a commendable adherence to period style, utilizing authentic instruments that enrich the sound palette. The decision to present No. 4 as a string quartet, while the others incorporate a harpsichord or organ, is a notable interpretive choice that adds variety and dimension. Each of the concerti unfolds with a slow opening movement, followed by alternating fast and slow sections that allow for both lyrical expression and energetic dialogue among the instruments. The ensemble exhibits an admirable cohesiveness, particularly in the rich harmonic interplay of the first concerto, where the strings weave a tapestry of counterpoint that is both engaging and contemplative.
The sound quality in this recording is particularly praiseworthy. The acoustic environment captures the clarity of each note, allowing the listener to appreciate the nuanced phrasing and dynamic contrasts employed by the performers. The recording engineers have done well to balance the ensemble, ensuring that the harpsichord does not overshadow the strings, while still allowing it to contribute a vital texture to the overall sound. In this respect, the engineering aligns closely with the musical intent, revealing the subtle intricacies of Avison’s writing.
While the duration of 46 minutes may seem less than generous for a recording of this nature, the quality of the performance compensates for the brevity. The disc could be better enriched by including additional concerti, which would provide a fuller representation of Avison’s artistic output. Comparatively, other recordings of Avison’s works may offer a broader selection, yet this particular interpretation stands out for its clarity and stylistic fidelity.
The combination of skilled musicianship, thoughtful interpretation, and high-quality production culminates in a compelling listening experience. The Georgian Concert brings a fresh perspective to Avison’s oeuvre, revealing the charm and depth of his music to both seasoned listeners and newcomers alike. This recording is a welcome addition to the exploration of early English music and merits a place in the collections of those interested in the rich tapestry of 18th-century compositions.
