Avison: Concerti Grossi after Geminiani

$23.99

Clear
Catalogue No: DDA 21210
EAN/UPC: 809730121029
Artists:
Composers:
Release Date: April 2007
Genres: ,
Periods:
Discs: 2
Sample: Concerto no. 5 - Affettuoso (extract)

Charles Avison was long neglected, but is now being recognised as one of the most brilliant and accomplished English composers of the 18th century. These 12 Concerti are based on Geminiani’s opus 1 violin sonatas,are played on period instruments and are recorded here for the first time, by the group which has itself made a reputation as one of the finest instrumental ensembles in Europe. The first of our series of major Avison releases (all Five Volumes available in a single set).

Track Listing

    Charles Avison:

  1. I. Concerto Grosso after Geminiani, no. 1 in G major − I Grave – Allegro (2:45)
  2. II. Concerto Grosso after Geminiani no. 1 in G major − II Allegro (2:11)
  3. III. Concerto Grosso after Geminiani no. 1 in G major − III Grave (0:28)
  4. IV. Concerto Grosso after Geminiani, no, 1 in G major − IV Allegro (3:01)
  5. I. Concerto Grosso after Geminiani no 2 in D minor − I Adagio (1:48)
  6. II. Concerto Grosso after Geminiani no. 2 in D minor − II Allegro (1:46)
  7. III. Concerto Grosso after Geminiani,no. 2 in D minor − III Adagio (1:30)
  8. IV. Concerto Grosso after Geminiani, no. 2 in D minor − IV Allegro (1:33)
  9. I. Concerto Grosso after Geminiani no. 3 in E minor − I Adagio – Allegro (3:08)
  10. II. Concerto Grosso after Geminiani, no. 3 in E minor − II Allegro (2:54)
  11. I. Concerto Grosso after Geminiani no. 4 in D major − I Adagio (1:19)
  12. II. Concerto Grosso after Geminiani, no. 4 in D major − II Allegro (2:29)
  13. III. Concerto Grosso after Geminiani no. 4 in D major − III Grave (0:59)
  14. IV. Concerto Grosso after Geminiani no. 4 in D major − IV Allegro (1:41)
  15. I. Concerto Grosso after Geminiani no 5 in B flat major − I Affettuoso (1:49)
  16. II. Concerto Grosso after Geminiani no 5 in B flat major − II Vivace (2:32)
  17. III. Concerto Grosso after Geminiani no 5 in B flat major − III Grave (1:01)
  18. IV. Concerto Grosso after Geminiani no 5 in B flat major − IV Allegro (1:27)
  19. I. Concerto Grosso after Geminiani no. 6 in G minor − I Affettuoso (3:30)
  20. II. Concerto Grosso after Geminiani no. 6 in G minor − II Adagio (0:54)
  21. III. Concerto Grosso after Geminiani no. 6 in G minor − III Allegro (2:20)
  22. IV. Concerto Grosso after Geminiani no. 6 in G minor − IV Andante – Theme and Variations (12:34)
  23. I. Concerto Grosso after Geminiani no. 7 in C minor − I Grave (1:30)
  24. II. Concerto Grosso after Geminiani no. 7 in C minor − II Allegro (1:59)
  25. III. Concerto Grosso after Geminiani no. 7 in C minor − III Grave (0:40)
  26. IV. Concerto Grosso after Geminiani no. 7 in C minor − IV Allegro (2:01)
  27. I. Concerto Grosso after Geminiani no. 8 in B minor − I Affettuoso (1:30)
  28. II. Concerto Grosso after Geminiani no. 8 in B minor − II Vivace (2:21)
  29. III. Concerto Grosso after Geminiani no. 8 in B minor − III Adagio (1:26)
  30. IV. Concerto Grosso after Geminiani no. 8 in B minor − IV Vivace (2:07)
  31. I. Concerto Grosso after Geminiani no. 9 in F major − I Vivace (4:07)
  32. II. Concerto Grosso after Geminiani no. 9 in F major − II Andante (1:42)
  33. III. Concerto Grosso after Geminiani no. 9 in F major − III Allegro (2:57)
  34. I. Concerto Grosso after Geminiani no. 10 in D major − I Adagio (1:08)
  35. II. Concerto Grosso after Geminiani no. 10 in D major − II Allegro (2:06)
  36. III. Concerto Grosso after Geminiani no. 10 in D major − III Adagio (1:13)
  37. IV. Concerto Grosso after Geminiani no. 10 in D major − IV Allegro (2:11)
  38. I. Concerto Grosso after Geminiani no. 11 in A minor − I Spiritoso (2:42)
  39. II. Concerto Grosso after Geminiani no. 11 in A minor − II Andante (2:32)
  40. III. Concerto Grosso after Geminiani no. 11 in A minor − III Allegro (2:36)
  41. I. Concerto Grosso after Geminiani no. 12 in D minor − I Amoroso (3:06)
  42. II. Concerto Grosso after Geminiani no. 12 in D minor − II Allegro (2:08)
  43. III. Concerto Grosso after Geminiani no. 12 in D minor − III Allegro (2:21)

Reviews

Early Music News

This is music of outstanding quality The performances are outstanding. The band is richly sonorous; the ensemble is faultless; the tempi are seemingly infallibly judged; the phrasing is subtle and expressive; and virtuoso solos are dispatched with aplomb. What more could one possibly want? They must surely be one of the finest baroque ensembles now in existence.

” —Richard Maunder
Goldberg Early Music Magazine

The performances of this immensely appealing set of concertos are outstanding… what is remarkable is the rich depth of the playing. An exceptional issue in every way. ⭐️⭐️⭐️⭐️⭐️

” —Brian Robins
International Record Review

Outstanding quality… a delight from start to finish. The playing is brisk and light, the textures clear and the overall ensemble well-nigh perfect. Beznosiuk is on stunning form. Recorded sound and overall presentation are also of the utmost quality

” —Robert Levett
The Consort

Throughout the recording, the Avison Ensemble responds to Avison’s full 7-part texture with warmth and flexibility. Pavlo Beznosiuk’s violin playing is also impressive, with finely judged phrasing, and ornamentation that is both inventive and … some wonderfully articulate cello playing, not directly credited but presumably by Richard Tunnicliffe. The sound quality is superb too” – Robin Bigwood (The Consort)

” —Robin Bigwood
The Daily Telegraph

spirited performances… beautifully characterised playing

” —Elizabeth Roche
American Record Guide

This recording constitutes something of an event in classical music. A significant addition to the catalog. Good sound and decent notes.

” —Crawford
The Journal Culture Magazine

No shortage of [virtuoso technique] on these discs…Pavlo Beznosiuk’s energy is combined with meticulous tuning and an ear for a well-shaped phrase… should prove a benchmark recording

CDhotlist

Avison’s arrangements preserve all of the fire and elegance of the original pieces, and the Avison Ensemble gives them brisk and lively performances. Highly recommended.

” —Rick Anderson
CD Classico

This work sheds true light on two aspects of the art and life of Avison – firstly that Avison was the foremost and most brilliant English composer of Concerti Grossi; and secondly his great admiration for Geminiani. Charles Avison was able to draw from the chamber sonatas a palette of orchestral colours which are among the brightest ever created in the baroque period. So: the brilliance, the fluent phrasing and tempi; the attention to tone and structure, delivered with creativity and grace, and a generous set of programme notes, make this an ideal benchmark recording of these Concerti Grossi. Admirable!

” —Andrea Bedetti (translation by Stephen Sutton)
Albion Magazine

The Ensemble perform this attractive music with flair and intelligence

” —Em Marshall
Allmusic

Charles Avison was one the most significant figures in eighteenth century English music. These are first-rate eighteenth century concerti grossi, and the Avison Ensemble plays them in a relaxed, very easygoing fashion. A worthy undertaking that whets the appetite for what might be in store with future instalments.

” —Dave Lewis
Berwick Advertiser

Two Avison Ensemble CDs are due to be released this week, one featuring the work of Charles Avison (12 Concerti after Geminiani) and the other one of his pupils John Garth (Six Concertos for Violincello). Charles Avison (1709-1770) was born in Newcastle and is considered by some to be the greatest English composer of his […]

Liverpool Daily Post

The Avison Ensemble has already recorded Concerti Grossi, by Charles Avison, for Naxos and Hyperion, and now give us his arrangements for Concerti Grossi of the 12 sonatas for violin and basso continuo by Geminiani. These were discovered only six or seven years ago, and [Pavlo] Beznosiuk has finished no. 11, which was incomplete in […]

” —Peter Spaull
MusicWeb International

This set of concerti grossi is an important discovery. Not only is it a fine tribute to the art of Geminiani, but it also reflects the admiration for the master, not just by Avison, but by English music-lovers at large. These concertos give plenty of evidence of Avison’s great qualities as a composer, and one can only hope other compositions – such as his chamber music and vocal works – are to be explored in due course.

” —Johan van Veen