GEORGE FRIDERIC HANDEL Concerti Grossi Opus 6 THE AVISON ENSEMBLE Pavlo Beznosiuk director
GeorGe Frideric Handel concerti GeorGeGrossi Frideric opus 6Handel c
th 8. iii. Largo, e piano 3.08 of England’sThe foremost Avison exponents Ensemble of 18 is thone of England’s foremost exponents of 18..................... iv. Andante ................................ 3.47 ments. It is century named after musicCharles on period Avison instruments. It is named 9.after Charles Avison 10. and v. Hornpipe 3.09 n composer, (1709–1770), conductor andthe organist, Newcastle-born “the composer, conductor organist,.............................. “the mposer of the 18thmost Century” important (New English Grove). concerto composer of the 18th Century” (New Grove).
The AVISON eNSeMBLe The AVISON eN
minor,Beznosiuk HWV 326 Pavlo Beznosiuk directorOpus 6 No.8 in cPavlo d
rks from theInBaroque addition and to early playing Classical other works from the Baroque early Classical 11. and i. Allemande ........................... 6.34 Disc One One iii. Disc Largo, e piano ..................... 17. i s also a training periods, ground TheforAvison youngEnsemble up and is also a17. training ground forGrave young..................................... up2.24 and 12. ii. 1.33 18. period iv. Allegro ................................... 2.49 18. rience at period coming performance musicians to gain and experience at performance and319 iii.inAndante ................. 1.56 Opus 6 No.1 in Gpractice Major, HWV 319 Opus 6 13. No.1 G practice Major,allegro HWV tunity to work styles, with affording outstanding them directors the opportunity to work with outstanding directors iv. Adagio 1.03 1. i. A tempo giusto .................. 1.35 1. i. 14. A tempo giusto................................... .................. 1.35 Opusoutreach 6 No.5 in15. D Major, HWV 323 Opus an active outreach and Ensemble involvinghas1.44 an active programme involving v. Siciliana ................................ 3.31 2. soloists. ii. programme AllegroThe ................................... 2. ii. Allegro ................................... 1.44 19. i. (No marking) ..................... 1.33 19. in music education thousands projects of children throughout each the year in music education projects throughout the 16. vi. Allegro ................................... 1.21 3. iii. Adagio ................................... 2.34 3. iii. Adagio ................................... 2.34 20. ii. Allegro ................................... 2.14 20. North 4. iv.East. Allegro ................................... 2.35 4. iv. Allegro ................................... 2.35 5.
21. iii.
v. Allegro ................................... 2.44
PrestoOpus .................................... 4.03 6 No.9 in F Major, HWV 5. v. Allegro ................................... 2.44327
21. i
22.complete iv. Largoworks ...................................... 2.08 22. gs of the complete The Avison works Ensemble’s of Charles Avison recordings of the of Charles Avison 17. i. Largo ...................................... 1.31 23. recording v. Allegro of ................................... 2.12 23. ived. Their recording have been of Six exceptionally Concertos well received. Their Six Cello Concertos ii. inAllegro ................................... 3.53 Opus 6 No.2 inCello F Major, HWV 320 Opus 6 18. No.2 F Major, HWV 320 24. vi. having Menuet19. ................................. 3.03 24. v onal success, by having Garth reprinted has beenseveral a ............. sensational success, several iii.reprinted Larghetto .............................. 3.20 6.John i. been Andante larghetto 4.10 6. i. been Andante larghetto ............. 4.10 release and istimes often during played the on first Classic year FM, of its release and is often played on Classic FM, ToTal Running Time : 60.03 iv. Allegro ................................... 1.47 7. ii. Allegro ................................... 2.19 7. ii. 20. Allegro ................................... 2.19 UK. v. ...................................... Menuet ................................. 1.20 8. iii. Largo ...................................... 2.08 8. iii. 21. Largo 2.08
vi. Gigue ..................................... 2.13 9. iv. Allegro, ma non troppo .. 2.15 9. iv. 22. Allegro, ma non troppo .. 2.15 TwoEnglish Disc rances in the In English addition regions, to numerous The Avison appearances Disc in the regions, The Avison ToTal Running Time : 59.46 itical acclaim Ensemble at St. John’s, hasSmith also appeared Square in to critical acclaim at St. John’s, Smith Square in Opus 6Opus No.6 6 inNo.3 G minor, 324HWV 321 Opus Opus 6 No.3 in E minor, HWV 321 in E HWV minor, Festival in Germany. London Recently, and at the theHalle Ensemble Handel Festival in Germany. Recently, the Ensemble 1. i. Larghetto eThree affettuoso ..... 3.19 ........ 1.05 1. 10. i. Larghetto affettuoso ........ 1.05 10. i.Disc Larghetto affettuoso ce in London has with performed the choir of at Her St. James’ MajestyPalace in London with thema choir Her Majesty 2. ii. Allegro, nonoftroppo .. 1.38 2. 11. ii. Andante ................................ 1.29 11. ii. Andante ................................ 1.29 was the largest the orchestra Queen’s Chapel in the Royal opening and was the3. largest orchestra in................................... the........... 6 No.10 inopening D 5.02 minor, HWV iii. Musette: Larghetto 12. iii. Allegro ................................... 2.26 12. iii.Opus Allegro 2.26 328 3. i don concert hall, concert series Place, at the performing new .......... London Kings Place, performing 1. i. Ouverture ............................. 1.29 4. iv.hall, Allegro ................................... 3.03 4. 13. Kings iv. Polonaise: Andante 4.59 concert 13. iv. Polonaise: Andante .......... 4.59 part of an all-Beethoven Beethoven’s Triple programme Concerto on as.. 1.12 part of5.anv.all-Beethoven programme on .. 1.12 2.135. 2. ii. Allegro ................................... Allegro ................................... 2.19 14. v. Allegro, ma non troppo 14. v. Allegro, ma non troppo period instruments. 3. iii. Lento ...................................... 2.58
Opus 6Opus No.7 6 inNo.4 B-flat HWV 325 322 Opus A minor, HWV 4. iv. inMajor, Allegro ................................... 2.13 6. i. Largo 6. 0.56 ........ 2.43 Larghetto affettuoso 15. i. ...................................... 5. v. Allegro ................................... 2.45 7. ii. Allegro ................................... 2.58 7. 16. ii. Allegro ................................... 2.58 6. vi. Allegro moderato .............. 1.42
Opus 6 No.4 in A minor, HWV 322 www.avisonensemble.com 15. i. Larghetto affettuoso ........ 2.43 16. ii. Allegro ................................... 2.58 2 10
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“Praise be to the Avison Ensemble… it was a performance be that to the wasAvison made by Ensemble… the it was a pe el concerti Grossi opus created 6 among the soloists “Praise intimate relationships and intimate with the relationships ensemble. created I’d takeamong the solois
Opus 6 No.11 8. iii. inLargo, A Major, e piano HWV ..................... 329 3.08 Opus 6 No.11 in A Major, HWV 329 7. i. Andante 9. iv. Andante larghetto, ................................ 3.47 7. i. Andante larghetto, e10. staccato ............................. e staccato ............................. 3.09 v. Hornpipe .............................. 3.09 them over Karajan and the4.12 Russians any day.” them over Karajan and the4.12 Russians any day.” 8. ii. Allegro ................................... 1.44 8. ii. Allegro ThE ................................... 1.44 ThE GuArDiAN, MArch 2009 GuArDiAN, MArch 2009 9. iii. Opus Largo,6eNo.8 staccato 0.29 326 9. iii. Largo, e staccato ............... 0.29 in c ............... minor, HWV siuk director Ensemble… must be one10. of the finest Avison period Ensemble… ensembles must 10. iv. “The Andante ................................ 4.27 surely iv.“The Andante ................................ 4.27surely be one of t 6.34 11. Avison i. Allemande ........................... 6.34 17. iii. 11. Largo, e12.piano ..................... 2.24 in in existence.” V. now Allegro ................................... 5.08 11. V. now Allegro ................................... 5.08 1.33 ii. existence.” Grave ..................................... 1.33 18. iv. Allegro13. ................................... 2.49 EArly Music rEviEw 20071.56 EArly Music rEviEw 2007 1.56 iii. Andante allegro ................. Opus 6 No.12 in B minor, HWV 330 Opus 6 No.12 in B minor, HWV 330 1.03 14. iv. Adagio ................................... 1.03 performances The Avison “…The Ensemble performances includes some are of outstanding. The Avis Opus 612. No.5i. “…The inLargo D Major, HWV 323 are outstanding. 1.59 12. i. Largo ...................................... 1.59 3.31 15. v....................................... Siciliana ................................ 3.31 Britain’s finest period instrument players, but what Britain’s is remarkable finest period is the instrument rich players, but 19. i. 13. (Noii.marking) ..................... 1.33 Allegro ................................... 2.54 13. ii. Allegro ................................... 2.54 1.21 16. vi. Allegro ................................... 1.21 of their playing… exceptional.” of their playing… exceptional.” 20. ii. 14. Allegro ................................... 2.14 iii. depth Larghetto, e piano ............ 3.21 14. iii. depth Larghetto, e piano ............ 3.21 21. iii. 15. Presto .................................... GOlDBErG 4.03 EArly 0.48 Music MAGAziNE GOlDBErG EArly 0.48 Music MAGAziNE 2 iv. Opus Largo 15. 2008 iv. Largo ...................................... 6...................................... No.9 in F Major, HWV 327 22. iv. 16. Largo ...................................... 2.08 v. Allegro ................................... 2.08 16. v. Allegro ................................... 2.08 1.31 17. i. Largo ...................................... 1.31 23. v. Allegro ................................... 2.12 3.53 18. ii. Allegro ................................... 3.53 ToTal Running Time : 40.49 ToTal Running Time : 40.49 24. vi. Menuet ................................. 3.03 3.20 19. iii. Larghetto .............................. 3.20 ToTal Running : 60.03 1.47 20. iv. Time Allegro ................................... 1.47 recorded 21. at Jubilee Theatre,................................. st Nicholas’ recorded at Jubilee Theatre, st Nicholas’ 1.20 v. Menuet 1.20 hospital, Newcastle upon Tyne, uK hospital, Newcastle upon Tyne, uK 2.13 22. vi. Gigue ..................................... 2.13 Disc Two
3.08
3.47
eNSeMBLe
from 27 to 31 October 2008 ToTal Running Time : 59.46the Discover Produced and engineered by Philip hobbs
from 27 to 31 October 2008
worldProduced of Linnand Records Discover engineered by Philip hobbs the world of L
Opus 6Executive No.6 in producer G minor,Gordon HWV 324 Download at www.linnrecords.com Download at www.linnre Dixon Executive producer Gordon Dixon 1. i.Post-production Larghetto affettuoso ..... 3.19 DisceThree by Post-production by Now you can explore Linn music on-line with even greater ease Now by you using can explore our innovative Linn music download on-line with even grea 2. ii.Julia Allegro, maFinesplice, non troppo Thomas, uK .. 1.38 Julia Thomas, Finesplice, uK facility. Linn albums and tracks are available to download at facility. StudioLinn Master albums andand CD tracks qualityare – the available to downlo 8 3. iii.Design Opus 6 No.10 in D minor, HWV 328 Musette: Larghetto ........... 5.02 by John haxby (Art surgery) Design by John haxby (Art surgery) quality you desire to achieve the best possible sound. MP3 downloads quality youare desire alsotoavailable. achieve the best possible soun Avison Ensemble Photography of The Avison Ensemble 1.29 1. ofi.The Ouverture ............................. 1.29 4. iv.Photography Allegro ................................... 3.03 linnrecords.com is a multi-format music delivery system that delivers linnrecords.com music on vinyl, is a multi-format CD and download. music delivery system th richard haughton by richard haughton 2.13 2. ii. Allegro ................................... 2.13 5. v.byAllegro ................................... 2.19 Register online today at www.linnrecords.com to keep up toRegister date about online ourtoday latest at releases www.linnrecords.com and to to keep u 2.58 iii. Lento ...................................... 2.58 Front cover 3. painting: Front painting: ind out more about ourcover artists. ind out more about ou Opus 6The No.7 in B-flat Major, 325 Gardens, 2.13 4. iv. Rotunda, AllegroHWV ................................... 2.13 Interior of the Ranelagh The Interior of the Rotunda, Ranelagh Gardens, 6. i.c.1751 Largo 0.56 2.45 5. canvas) v. Allegro ................................... 2.45 (oil...................................... on by canaletto, c.1751 (oil on canvas) by canaletto, 7. ii.(Giovanni AllegroAntonio ................................... 2.58 (1697-1768) (Giovanni Antonio canal) (1697-1768) 1.42 6. vi. canal) Allegro moderato .............. 1.42 3
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GeorGe Frideric Handel concerti GeorGeGrossi Frideric opus 6Handel c
of his oratorio Largo writing, of Concerto and theNo.4, chromatic a feature of his oratorio writing, competitive, and the forcing chromatic them to either b o No.6. Manysubject individual of the movements fugue in Concerto have No.6. Many individual home.movements However, there havewere those wh with their energetic a certain melodic buoyancy lines, about some them, with their energetic musicians melodic such lines,assome Geminiani, Hersch wasare a float hive of musical at the start Britain of many the waseighteenth aothers, hive of musical century. thet nature, thatBritain ofeffortlessly which rather above operatic the activity in nature, that effortlessly float above making the activity a nameatfor The public concerts which Theare public had been concerts established subscription in series, these concertos accompanying are a patchwork parts.and quilt Assubscription such, of theseseries, concertos musician, a patchwork whoand had quilt also of originated fro previous century, provided a means forall a musician previous to make century, aelements comfortable provided means for a uences, all ofthe ideas; these despite differing the elements numerous areinfluences, ofthe these impact differing than any other are amusician wor living that was independent of the church and living not subject that was totoindependent the ofof the church w a harmonious whole. successfully integrated into one harmonious whole. became be whims so closely associated the aristocracy. This entrepreneurial attitude towards the aristocracy. music production This entrepreneurial was attitude origins were largely forgotten. The radically differentthe tocomposed the situation onpopularity the continent, radically where different musicians tocomposed the were situation on the co ted popularity Handel, of his despite oratorios, unprecedented of his George oratorios, Frideric Handel. viewed as being little more than servants, and viewed could as do being little little without more thethan servants, eat many of awhich plethora are of other an undeniably works, a great many of which are of an undeniably expressed permission ofclearly their benefactors. As aexpressed result, those permission who worked ofclearly their benefactors. Besides his fame as aincomposer of orA Grand Concertos high that quality. Handel It is most perhaps in the Grand Concertos that Handel most Britain were not only free to make a lucrative Britain living from were their not only endeavours, free to make a lucrati composer of operas, spending a great a genre that was focused particularly his many popular faculties with into a genre that was particularly popular with but adopted were able to climb up the social so, ladder but and were mingle also able to those climb from up theinsocial lad to establish Italian opera London n doing so, catered his for also their countrymen, musical tastes and, in doing catered for theirwith musical tastes the upper classes. the upper classes. success with this genre, it slowly fell highly innovative in a in spectacular their design, way.and Theyare, are highly innovative in their design, and are, the success of John Gay’s The Beggar’s certo grosso composition. without doubt, a pinnacle of concerto grosso composition. In the latter part of the seventeenth century Purcell In thewas latter the part most of important the seventeenth bell for sung dramatic workscentury in Ita force in British music2010 but, despite what others force havein said, British native music music but,did despite what oth with opera but began to expand into Š Simon D. I. Fleming not entirely stagnate after his death. At the dawn not entirely of important the eighteenth stagnate after century his death. At the of these being the oratorio, there was a tremendous amount of music there production was ahis occurring: tremendous amount of mus after death in some 1759. However, Ha of the native musicians reflected on the glories of the of of the native past, musicians while reflectedfor on organ the g concertos, his others examples adopted more continental styles. However atadopted the same more time continental therehewas aalso aHowever influential and wasstyles. significa huge influx in the number of foreign musicians huge visiting influx inEngland. the number Someof foreign mu The for concerto grossolives was something o came just for short visits, while others spent substantial came just parts short of their visits, while others spen withthat many the creating music for a clientele that was eager to creating heareighteenth these music new forcentury, continental a clientele wasofeage for use at their their own concerts. Its pop styles, and patronise their performance. The styles, fashion and for patronise anything foreign, performance. Th by the Italian violinist and particularly Italian, was so great that many andofparticularly the domestic Italian, musicians was soArcangelo great thatCo m in Amsterdam into1714. quickly were pushed into second place, a few even Italianising were pushed their into names second take place,They a few even andtrends remained popular advantage of the trends at that time. Many of advantage the Britain, foreign of the musicians who at that time.throug Man seventy-five yearshighly after first publ came to England found the environment, particularly came to England in London, found the their environment, 4 8
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out competitive, into the provinces forcing or them return to either branch out into the provinces oreNSeMBLe return The AVISON The AVISON elseherwhobranch concerti Grossi opus 6eNSeMBLe did make home. a substantial However, impact, there were with those who did make a substantial impact, with gordon Dixon, executive Director
gordon Dixon, executive Director
Herschel, Giardini, musicians Pepusch, suchJ.C. as Bach, Geminiani, and Herschel, Giardini, Pepusch, J.C. Bach, and Benton, century. Development Director Frances Benton, Development Director atfor thethemselves start of Frances theineighteenth many Britain. others, making However,a one name for themselves in Britain. However, one 3 Bentinck Place, newcastle upon Tyne, ne4 6Xn, 3 Bentinck Place, newcastle upon Tyne, ne4 uK series, which had been established in larger ed from continental musician, Europe, whohad hadaalso far originated from continental Europe, had a far larger tel: +44 (0)191 226 0799 tel: +44 (0)191 226 0799 for a musician to make a comfortable n working at that impact time than andany in other the process musician working at that time and in the process urch with and not subject to the of associated with British music that his Germanic ated British became music that bewhims sohisclosely Germanic 1sttoViolins 1st Violins titude towardsorigins music production The musician in question wereBeznosiuk largely was, was offorgotten. course, musician in question was, of course, Pavlo (Mathuys The Hofmans – Antwerp, 1676) Pavlo Beznosiuk (Mathuys Hofmans – the continent, George where musicians were FridericGreen Handel. Joanne (Michiel de Hoog – Chartres, 1988) Joanne Green (Michiel de Hoog – Char ants, and could do little without the Jane Gordon (Anon. French 18th century) Jane Gordon (Anon. French 18th centur ors. As a result, thosewas whoalso worked incomposer of oratorios, Handel was also an important of oratorios, Handel Besides his fame an as important a Iwona Muszynska (Hill Workshop – c.1760) Iwona Muszynska (Hill Workshop – c.1 ucrative living from great deal of his composer earlytheir creative ofendeavours, operas, energy spending trying a great deal of his early creative energy trying 2nd Violins al ladder and mingle with those from ndon. Although to establish he did enjoy Italian some opera initial in London. Although he 2nd did Violins enjoy some initial Caroline Balding School c.1680) Caroline ly fell out of favour successwith withthe this public; genre,it(Stainer itwas slowly fell–out of favour with the Balding public; it(Stainer was School – c.16 Simon Kodurand (Christopher Rowe – Isle of Wight, Simon 1993) Kodurand (Christopher Rowe – I eggar’s Opera in the 1728 success that sounded of John the Gay’s death The Beggar’s Opera in 1728 that sounded the death Katarina Bengtson (Richard – Holborn, London, Katarina 1750)Bengtson (Richard Duke – Ho ntury Purcell was most in Italian. Handel bell the for continued sungimportant dramatic to persevere works in Duke Italian. Handel continued to persevere ellenbut O’Dell (Michael O’Dellinto – 1989) ellen O’Dell O’Dell – 1989) at others have said, native music did into other, more with profitable, opera areas, began the to most expand other, more profitable, areas,(Michael the most At the dawn the eighteenth century Viola Viola torio, whichof perpetuated important of histhese reputation being the longoratorio, which perpetuated his reputation long production occurring: Rachel (Nicholas Woodward – 1993was afteralso Guarneri) Rachel Byrt (Nicholas Woodward – 1993 er,music Handel wasafter also his an important deathByrt in some 1759. composer However, Handel an important composer the glories theconcertos, past, while others emile de (Bernd Hiller –being Markneukirchen, emile Germany, de Roubaix 2006) (Bernd Hiller – Mark organ being of particularly of popular hisRoubaix examples and highly for organ particularly popular and highly wever atcomposer the same there nificant influential oftime string and concertos. hewas wasaalso a significant composer of Cello string concertos. Cello n musicians visiting Richard England. Some Tunnicliffe (Leonhard Maussiell – Nuremberg, Richard c.1730) Tunnicliffe (Leonhard Maussiel hing of asubstantial phenomenon The concerto inof Britain grossolives during was something the of a phenomenon in Britain during the s spent parts their Deborah Thorne (Anon. English c.1780) Deborah Thorne (Anon. English c.1780 the native eighteenth century, such with works many of the native composers writing such works sofeager to hearcomposers these newwriting continental Bass Bass ts stemmed forfor useanything atfrom theira foreign, own set ofconcerts. twelve Its popularity stemmed from a set of twelve ce.popularity The fashion Tim Amherst (Anon. Venice c.1700) Tim Amherst (Anon. Venice c.1700) elo which by domestic the hadItalian beenmusicians first violinist published Arcangelo Corelli, which had been first published thatCorelli, many of the HarpsiCHord HarpsiCHord uickly became in a staple Amsterdam of concert into1714. life across They quickly became a staple of concert life across even Italianising their names take Roger hamilton (Clayson Garrett afterthe an rest instrument Roger hamiltonIn(Clayson throughout theforeign Britain, rest of and the remained century. Inpopular 1789, & throughout of the century. 1789, & Garrett aft Many of the musicians who Johannes Dulcken ofthe Antwerp, 1745) Johannes Dulcken Antwerp, 1745) t publication, Charles seventy-five years wrote after that their first publication, CharlesbyBurney wrote thatofthe ment, particularly inbyBurney London, highly 5
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tood all the attacks “concertos of timeofand Corelli fashion seemwith to have more withstood all the attacks “concertos of time A large ofand Corelli fashion number seemwith toof have more the withstood first movemen all the a ”. Handel would firmness have been than any acutely otheraware of his works”. of Handel would firmness have several than beenany acutely feature otheraware ofthe his works”. dotted of Handel rhythms w British audiences the popularity and opted of to the exploit Corelli their with British audiences the popularity and ouverture, optedof tothe these exploit Corelli are their often with British followed aud own set. His publisher, selling potential John Walsh, by issuing would his own set. His publisher, sellingnotable potential Johnexample Walsh, by issuing would of this his style own is set.Conc Hi in such works, also having have previously been awareproduced of the profit in such works, also having have opening previously been aware movement, produced of the shows profit in a such marked wo well as thoseeditions by Geminiani. of Corelli’s The concertos, entire set as well as thoseeditions by Geminiani. Most of Corelli’s concertos The concertos, entire contain set dance as wellmovem as tho f creative energy of twelve in September was written and October in a burst of creative energy of twelve in example September was written is and Concerto in October a burst No.8 of which, creativew e e finished, a 1739, proposal and,toeven publish before them they bywere finished, a1739, proposal and, striking toeven publish similarity before them they to an bywere orchestral finished, sui e London Daily subscription Post. They were hadsubsequently appeared in the London Dailysubscription Post. They sonata-like, were hadsubsequently appeared for example, in the theLondon Larghetto Da ear and were included issued ininApril the 1739-40 of the following winter year and were included issued ininApril the 1739-40 of the following winter year and wer Asseries. was common practice at the time concert series. concert from the works of other composers, a Concertos’, Handel Before had composing already his produced ‘Grand Concertos’, Handel Beforeof had composing hisalready education his produced ‘Grand in Halle,Concertos’, he had be is genre, including numerous his three otherfor examples oboe that of this genre, including numerous on his athree other theme for examples byoboe another that of this composer, genre,an in a set of six that date were from issued c.1703. as his There Op.3 is also in a set of six that date were from remainder issued c.1703. asofhis There hisOp.3 life. is also in Thisaisset particula of six er set, obligatory 1734wind which parts. have,They unlike further his later set, obligatory 1734wind which thatparts. he have, borrowed They unlike further his from later theset,impor oblig bled from several differdisparate in that they sources, werewhile assembled from several differdisparate Scarlatti, in that they sources, as well were as while assembled the ‘Componimen from s eived, and published, the ‘Grand as Concertos’ an integrated were set, conceived, and published, the ‘Grand Handel as Concertos’ analso integrated re-used wereset, music conceived, from his ando famous Op.6. clearly Handelinnotably emulation paid of homage Corelli’s famous Op.6. clearly Handel for innotably the emulation most paidpart, of homage Corelli’s a transcription famous Op. of ving his set the to same the great opusItalian number. violinist by giving his set the to same the the great opus Nightingale’. Italian number. violinist However, by giving in these his set numerous alterations; a notable exam ed for the same The resources ‘Grand Concertos’ as the Corelli, are scored for the same The ‘Grand resources Concertos’ as the Corelli, are scored forof the of the distinctive cuckoo effects the wo violins and consisting cello, supported of a concertino by fourof two violins and consisting cello, of a also concertino by fourviolins Opussupported 6 set exists asofantwo organ conc uo. Each concerto part ripieno has an strings individual andform, continuo. Each concerto part ripieno has an strings individual form, continuo. Each co his opera Giulioand Cesare, with the fourth ount of diversity and within there isthe a considerable set althoughamount of diversity and within there isthe a from considerable set although material the aria amount ‘Piangeròofladiv f Corellian four-movement structurally di Handel chiesa adopted paradigmthe Corellian four-movement structurally di Handel chiesa adopted paradigm fo No.4 borrows from thethe ariaCorellian ‘E’si vaga’ ver, like Corelli of slow-quick-slow-quick. he regularly added more However, like Corelli of slow-quick-slow-quick. he process regularly more However, like tim C of added composing at the same os, with threemovements having six movements, to individualwhile concertos, with threemovements having six movements, to individual with thr from the overture while toconcertos, this particular op others have five. othersof have five. No.9. Other interesting fe Concerto 6
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llvements the attacks areof distinctly time A large and fashion number regal with inofnature, more the first andmovements are distinctly A large number regal inofnature, the first andmovements ar thms del would of the have French several been acutely ouverture. featureaware theAsdotted ofin therhythms of the French several ouverture. feature theAsdotted in therhythms of th h wed audiences by a dynamic and ouverture, opted andtoinventive exploit these are their fugue. often followed A by a dynamic ouverture, and inventive these are fugue. often followed A by a d et.Concerto His publisher, No.10, notable John which, example Walsh, with would its of this arresting style is Concerto No.10, notable which, example with its of this arresting style is Concerto arked ch works, similarity having opening with previously his movement, operatic produced overtures. shows a marked similarity opening with his movement, operatic overtures. shows a marked simil movements, as those by frequently Geminiani. Most concertos several; The entire contain a prominent set dance movements, frequently Most concertos several;contain a prominent dance movements, ch, tivewith energy itsinsuccession September example isof and Concerto dances, October bears No.8 which, a with its succession example isofConcerto dances, bears No.8 which, a with it al shed, suite. a Other proposal striking movements to publish similarity arethem distinctly to an by orchestral trio suite. Otherstriking movements similarity are distinctly to an orchestral trio suite. Oth on ghetto Daily from Post.Concerto They sonata-like, were No.7. subsequently for example, the Larghetto from Concerto sonata-like, No.7.for example, the Larghetto from d were included in the 1739-40 winter time most musicians As was common freely borrowed practiceideas at the time most musicians As was common freely borrowed practiceideas at the time most sers, and Handel from was thenoworks exception. of other As composers, part and Handel from was thenoworks exception. of other As composers, part and H rtos’, ad been Handel encouraged of hadhisalready education to write produced music in Halle, based he had been encouraged of his education to write music in Halle, based he had been en nre, er, and including he maintained his on athree theme this forby tradition oboe another thatfor composer, the and he maintained on a theme thisby tradition anotherfor composer, the and he m of rticularly six thatevident were remainder issued in theas amount ofhis hisOp.3 life. of material in This is particularly evident remainder in the amount of his life. of material This is particularly ev ,mportant obligatory‘Essercizi’ wind thatparts. he(1739) borrowed They of further Domenico from the important ‘Essercizi’ that he(1739) borrowed of Domenico from the important nimenti rom several Musicali’ disparate Scarlatti, (1739) sources, asofwell Gottlieb as while theMuffat. ‘Componimenti Musicali’ Scarlatti, (1739)asofwell Gottlieb as theMuffat. ‘Componimenti Mu m, his andown published, works, Handel as theanNinth also integrated re-used Concerto set, music being, from his own works, Handel the Ninth also re-used Concerto music being, from his own w us on Op.6. of hisHandel Organ fornotably Concerto the most paid ‘The part, homage Cuckoo a transcription and of his Organ forConcerto the most‘The part,Cuckoo a transcription and of his O his hese setrecycled the samethe movements opus Nightingale’. number. he always However, made in these recycled the movements Nightingale’. he always However, made in these recycl example in this numerous concertoalterations; being the removal a notable example in this numerous concertoalterations; being the removal a notable example in r the same resources as the Corelli, of the original. of The theEleventh distinctive Concerto cuckooineffects the of the original.of The theEleventh distinctive Concerto cuckooin effects the of the origin and Other cello, supported by fourniolins concerto. Opus sources 6 set also of material exists as include an organ concerto. Other Opus sources 6 set also of material exists as include an organ concerto. ach concerto has individual form, fourth movement his an opera of Concerto Giulio Cesare, No.8 re-using with the fourth movement his opera of Concerto Giulio Cesare, No.8 re-using with the fourth mov within set although òofladiversity forte mia’; material also,the the from finale thetoaria Concerto ‘Piangerò la forte mia’;material also, the from finale thetoaria Concerto ‘Piangerò la forte m ian four-movement di chiesa paradigm vaga’ from Imeneo, No.4 which borrows Handel from the wasaria in the ‘E’si vaga’ from Imeneo, No.4 which borrows Handel from the wasaria in the ‘E’si vaga’ from ike time. CorelliFurthermore, he process regularly added more me ofhe composing re-used material at the same time. Furthermore, process ofhe composing re-used material at the same time. F th six movements, larthree operahaving in thefrom fourth theand overture fifth while movements to this particular opera in the from fourth the and overture fifth movements to this particular opera in ing features include of Concerto the walking No.9. Other bass to interesting the features include of Concerto the walking No.9. Other bass to interesting the feature 7
7
Largo of Concerto No.4, a feature of his oratorio Largo writing, of Concerto and theNo.4, chromatic a feature of his orat The AVISON ndel concerti GeorGeGrossi Frideric opus 6Handel concerti Grossi opus 6eNSeMBL subject of the fugue in Concerto No.6. Manysubject individual of the movements fugue in Concerto have No.6. Ma gordon Dixon, executive Director
a certain buoyancy about them, with their energetic a certain melodic buoyancy lines, about some them, with their Benton, century. Development Director ivity at the start Britain of the wasare eighteenth a hive of musical century. activity at the start of Frances the are eighteenth of which rather operatic in nature, that ofeffortlessly which float rather above operatic the in nature, th 3 Bentinck Place, newcastle upon Tyne tion series, which The public had been concerts established in theseseries, which been parts. established in accompanying parts.and Assubscription such, concertos accompanying arehad a patchwork quilt As such, of these conc tel: +44 (0)191 226 0799 means for a musician the previous to make century, a comfortable provided a means for a musician to make a comfortable ideas; despite the numerous influences, all ofideas; these despite differing theelements numerous areinfluences, all he church andsuccessfully living not subject that was to independent the whims of the church and not subjectintegrated to the whims of integrated into of one harmonious whole. successfully 1st Violinsinto one harmonious rial attitude towards the aristocracy. music production This entrepreneurial was attitude towards music production was Pavlo Beznosiuk (Mathuys Hofm n on the continent, radically where different musicians to unprecedented thewere situation onpopularity the continent, musicians were Handel, despite the Handel, of hiswhere despite oratorios, thecomposed unprecedented Joanne Green (Michiel depopula Hoog – n servants, and viewed could as do being little little without more the than servants, and could do little without thea great manyth a plethora of other works, a great many of awhich plethora are of ofJane other an Gordon undeniably works, (Anon. French 18 nefactors. As ahigh expressed result, those permission who worked of their in benefactors. As a result, those who worked in quality. It is perhaps in the Grand Concertos high that quality. Handel It is most perhaps clearly in the Grand Con Iwona Muszynska (Hill Workshop ke a lucrativeBritain living from were their not only endeavours, free tointo make a lucrative living from theirpopular endeavours, focused his many faculties a genre that was focused particularly his many faculties with into a genre tha 2nd Violins e social ladderhis but and were mingle alsocountrymen, with able those to climb from up the social so, ladder and mingle with thosetastes from adopted and, in doing catered his adopted for their countrymen, musical and, in doing so, Caroline Balding (Stainer School the upper classes. in a spectacular way. They are highly innovative in a in spectacular their design, way. and Theyare, are highly inno Simon Kodurand (Christopher Ro without doubt, a pinnacle of concerto grosso composition. without doubt, a pinnacle of concerto grosso Katarina Bengtson nth century Purcell In thewas latter thepart most of important the seventeenth century Purcell was the most important (Richard Duk ellen O’Dell (Michael O’Dell – 19 te what others force have in said, British native music music but,did despite what others native music © Simon D. I. Fleming 2010 © have Simonsaid, D. I. Fleming 2010 did ath. At the dawn not entirely of the eighteenth stagnate after century his death. At the dawn of the eighteenth century Viola nt of music there production was a occurring: tremendous some amount of music production Rachel occurring: Byrtsome (Nicholas Woodward – d on the glories of the of the native past, musicians while others reflected on the glories of the past, while others (Bernd Hiller emile de Roubaix s. However atadopted the same more time continental there was styles. a However at the same time there was a Cello oreign musicians huge visiting influx in England. the number Someof foreign musicians visitingRichard England. Some (Leonhard M Tunnicliffe others spent substantial came just for parts short of their visits,lives while others spent substantial parts of their lives (Anon. English Deborah Thorne at was eager to creating hear these music new forcontinental a clientele that was eager to hear these new continental Bass rmance. The styles, fashionand for patronise anything their foreign, performance. The fashion for anything foreign, Tim Amherst (Anon. Venice c.1700 great that many andofparticularly the domestic Italian, musicians was so great that many of the domestic musicians HarpsiCHord a few even Italianising were pushed theirinto names second to take place, a few even Italianising their names to take hamilton time. Many of advantage the foreign of the musicians trends who at that time. Many of the foreignRoger musicians who (Clayson & Garr Johanneshighly Dulcken of Antwerp, 17 vironment, particularly came to England in London, found highly the environment, particularly inbyLondon, 4 8
8
s oratorio writing, competitive, andAVISON the forcing chromatic them to either branch outcompetitive, into the provinces forcing or them return to either branch MBLe The eNSeMBLe
6. Many individual home.movements However, there havewere those who did make home. a substantial However, impact, there were with those who did r gordon Dixon, executive Director their energetic musicians melodic such lines,assome Geminiani, Herschel, Giardini, musicians Pepusch, suchJ.C. as Bach, Geminiani, and Herschel, G rector Frances Benton, Development Director ure, that effortlessly many others, float above making the a name for themselves many in Britain. others, making However,a one name for thems n Tyne, ne4 6Xn, 3 Bentinck Place, newcastle upon Tyne, ne4 6Xn, uK uK concertos aremusician, a patchwork who had quiltalso of originated from continental musician, Europe, whohad hadaalso far larger originated from con tel: +44 (0)191 226 0799 es, all of theseimpact differing than elements any other are musician working at impact that time than andany in other the process musician working onious whole. became1sttoViolins be so closely associated with British became music to that be sohisclosely Germanic associated with B origins wereBeznosiuk largely forgotten. musician origins in question were largely was, offorgotten. course, The music Hofmans – Antwerp, 1676) Pavlo (Mathuys The Hofmans – Antwerp, 1676) opularity of his George oratorios, Frideric composed Handel. Hoog – Chartres, 1988) Joanne Green (Michiel de Hoog – Chartres,George 1988) Frideric Handel. many which are ofJane an undeniably h 18th of century) Gordon (Anon. French 18th century) Besides hismost fame as a composer of oratorios, Handel Besideswas his also famean asimportant a composer of oratorio d Concertos that Handel clearly orkshop – c.1760) Iwona Muszynska (Hill Workshop – c.1760) composer popular of operas, spending a great deal of his composer early creative of operas, energy spending trying a great deal o re that was particularly with 2nd Violins to establish Italian opera in London. Although to establish he did enjoy Italian some opera initial in London. Alth ng so, catered for their musical tastes School – c.1680) successCaroline Balding (Stainer School – c.1680) successwith with this withthe this public; genre,it itwas slowly fell out o innovative in their design, andgenre, are, it slowly fell out of favour pher Rowe – Isle of Wight, Simon 1993) (Christopher Rowe – Isle Wight, 1993) the success ofKodurand John Gay’s The Beggar’s Opera inof the 1728 success that sounded of John the Gay’s death The Beggar’s Opera grosso composition. rd Duke – Holborn, 1750)dramatic Bengtsonworks (Richard – Holborn, 1750)dramatic bellLondon, forKatarina sung in Duke Italian. Handel bellLondon, for continued sung to persevere works in Italian. ll – 1989) ellen O’Dell (Michael O’Dell – 1989) with opera but began to expand into other, more withprofitable, opera butareas, beganthe to most expand into other, Viola important of these being the oratorio, which perpetuated important of histhese reputation being the longoratorio, which ward – 1993 after Guarneri) Rachel (Nicholas Woodward – 1993was after Guarneri) after his deathByrt in 1759. However, Handel after also his an death important in 1759. composer However, Handel Hiller – Markneukirchen, emile Germany, de 2006) (Bernd Hiller –being Markneukirchen, Germany, of concertos, hisRoubaix examples for organ particularly of concertos, popular his 2006) examples and highly for organ being influential and he was also a significant composer influential of string and concertos. he was also a significant com Cello
ard Maussiell – Nuremberg, Richard c.1730) Tunnicliffe (Leonhard Maussiell – Nuremberg, c.1730) The concerto grosso was something of a phenomenon The concerto in Britain grossoduring was something the of a ph nglish c.1780) Deborah Thorne (Anon. English c.1780)
eighteenth century, with many of the native composers eighteenthwriting century,such withworks many of the nativ for useBass at their own concerts. Its popularity stemmed for use atfrom theira own set of concerts. twelve Its popularit c.1700) Amherst (Anon. Venice c.1700) by theTim Italian violinist Arcangelo Corelli, which by the hadItalian been first violinist published Arcangelo Corelli, HarpsiCHord in Amsterdam in 1714. They quickly became in a staple Amsterdam of concert in 1714. life across They quickly becam & Garrett after an instrument Roger hamilton popular (Clayson & Garrett afterthe an instrument Britain, and remained throughout Britain, rest ofand the remained century. Inpopular 1789, throughout erp, 1745) by Johannes of Antwerp, 1745) seventy-five years Dulcken after their first publication, Charles seventy-five Burney years wrote afterthat their thefirst publicatio 9
9 5
th The Avison Ensemble is one of England’sThe foremost Avison of 18 is Ensemble… one of Englan “Praiseexponents beEnsemble to the Avison it wa century music on period instruments. It is century namedintimate after musicCharles on period Avison instruments. relationships created among It the (1709–1770), the Newcastle-born composer, (1709–1770), conductor the organist, Newcastle-born “the compose themand over Karajan and the Russians any most important English concerto composer of the 18thmost Century” important (New English Grove). concerto MARCH composer2009 of the THE GUARDIAN,
In addition to playing other works from theInBaroque addition to early playing Classical othermust works from “The and Avison Ensemble… surely be ot periods, The Avison Ensemble is also a training periods, ground The Avison youngEnsemble up and is also a tra now infor existence.” coming musicians to gain experience at period coming performance musicians practice toMUSIC gainand experience EARLY REVIEW 2007 at pe styles, affording them the opportunity to work styles, withaffording outstanding them directors the opportunity to w “…The performances are has outstanding. Th and soloists. The Ensemble has an active outreach and soloists. programme The Ensemble involving an active Britain’s finest period instrument player thousands of children each year in music education thousands projects of children throughout eachthe year in music ed depth of their playing… exceptional.” North East. North East.
GOLDBERG EARLY MUSIC MAGA
The Avison Ensemble’s recordings of the complete The Avison works Ensemble’s of Charles Avison recordings of the co have been exceptionally well received. Their recording have been of Six exceptionally Cello Concertos well received. Their by John Garth has been a sensational success, by having Johnbeen Garth reprinted has beenseveral a sensational succes times during the first year of its release and istimes oftenduring playedthe onfirst Classic yearFM, of its release and UK. UK.
In addition to numerous appearances in theIn English addition regions, to numerous The Avison appearances in t Discover theacclai worl Ensemble has also appeared to critical acclaim Ensemble at St. John’s, hasSmith also appeared Square in to critical London and at the Halle Handel Festival in Germany. LondonRecently, and at the theHalle Ensemble HandelDownload FestivalatinwwG has performed at St. James’ Palace in London has withperformed the of at explore Her St. James’ Majesty Palace in with Londo Nowchoir you can Linn music on-line eve facility. Linn and tracks available the Queen’s Chapel Royal and was the largest the orchestra Queen’s Chapel inalbums the Royal opening andarewas the tola quality youthe desire to achieve the best possib concert series at the new London concert hall, concert Kings series Place, at performing new London concert Register Triple online today at www.linnrecords.com to Beethoven’s Triple Concerto as part of an all-Beethoven Beethoven’s programme Concerto on as part of an find out more period instruments. period instruments. www.avisonensemble.com
10 2
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th 8. iii. Largo, piano ..................... 3.08 6 No.11 8. iii. in Largo, A Major, piano HWVby ..................... 329 3.08 foremost exponents of 18by …ngland’s it was a performance “Praise be that to was the eAvison made Ensemble… the it wasOpus a performance that wase made the 9. iv. Andante ................................ 3.47the soloists 7. i. and Andante 9. with iv. Andante larghetto, ................................ 3.47 s. named after Charles Avison ng It theissoloists and intimate with the relationships ensemble. created I’d takeamong the ensemble. I’d take e10. staccato ............................. 4.12 10. and v. Hornpipe 3.09 v. Hornpipe .............................. 3.09 mposer, conductor organist, “thethe Russians ns any day.” them over Karajan .............................. and any day.” 8. ii. Allegro ................................... 1.44 of the 18th Century” (New Grove). 009 THE GUARDIAN, MARCH 2009
Opu 7. 8.
9. iii. Opus Largo,6eNo.8 staccato ...............HWV 0.29 326 Opus 6 No.8 in c minor, HWV 326 in c minor, rom the ofBaroque early Classical ly be one the “The finest Avison period Ensemble… ensembles must surely be one10. of the period ensembles iv. finest Andante ................................ 4.27 i. Allemande ........................... 6.34 Allemande ........................... 6.34 11. and 11. i. a training ground forexistence.” young..................................... up and now 11. V. Allegro ................................... 5.08 12. in ii. Grave 1.33 12. ii. Grave ..................................... 1.33 at period performance practice and EARLY MUSIC REVIEW 20071.56 13. iii. Andante allegro ................. 13. iii. Andante allegro ................. 1.56 Opus 6 No.12 B minor, HWV 330 y to work with14. outstanding iv. Adagiodirectors ................................... 1.03 14. iv. inAdagio ................................... 1.03 ng. Theoutreach Avison “…The Ensemble performances includes some areofoutstanding. The Avison includes some of 1.59 12. i. Ensemble Largo ctive programme involving 15. v. Siciliana ................................ 3.31 15. v....................................... Siciliana ................................ 3.31 players, but what Britain’s is remarkable finest period is thethe instrument rich players, but is remarkable is the rich 2.54 13. what ii. Allegro ................................... sic education projects throughout 16. vi. Allegro ................................... 1.21 16. vi. Allegro ................................... 1.21 l.” depth of their playing… exceptional.” 14. iii. Larghetto, e piano ............ 3.21 MAGAZINE 2008Opus 6 No.9 GOLDBERG EARLYHWV MUSIC MAGAZINE 15. 2008 iv. Opus Largo6...................................... 0.48 327 in F Major, 327 No.9 in F Major, HWV he complete works of Charles Avison 16. v. Allegro ................................... 2.08 17. i. Largo ...................................... 1.31 17. i. Largo ...................................... 1.31 Their recording18. of Six Cello Concertos ii. Allegro ................................... 3.53 18. ii. Allegro ................................... 3.53 ToTal Running Time : 40.49 success, having 19. been iii.reprinted Larghettoseveral .............................. 3.20 19. iii. Larghetto .............................. 3.20 se and is often 20. played on Classic FM, iv. Allegro ................................... 1.47 20. iv. Allegro ................................... 1.47 recorded21. at Jubilee Theatre,................................. st Nicholas’ 21. v. Menuet ................................. 1.20 v. Menuet 1.20 hospital, Newcastle upon Tyne, uK 22. vi. Gigue ..................................... 2.13 22. vi. Gigue ..................................... 2.13
s in the English regions, The Avison
9. 10. 11.
Opu 12. 13. 14. 15. 16.
reco hosp from Produ Exec PostJulia Desig Photo by ri
from 27 to 31 October 2008
ToTal Running Time : 59.46the worldProduced ToTal Running Time : 59.46 eacclaim world of Records of Linnand Records engineered by Philip hobbs at Linn St. John’s, Smith SquareDiscover in
dalatin www.linnrecords.com Germany. Recently,
the Ensemble Disc Three
Download at www.linnrecords.com Executive producer Gordon Dixon
Disc Three Post-production by
London with the of our Herinnovative Majesty with even greater ease Nowchoir by youusing can explore Linn music download on-line with even greater ease by using our innovative download Julia Thomas, Finesplice, uK able to download atfacility. StudioLinn Master and CD tracks quality are – the available to download at Studio Master and CD quality – the the largest orchestra in albums theand Opus 6 No.10 inopening D minor, HWV 328 Opus No.10 insurgery) D minor, HWV 328 Design by John 6haxby (Art t possible sound. MP3 downloads quality you are desire also to available. achieve the best possible sound. MP3 downloads are also available. oncert hall, Kings performing Photography Avison Ensemble 1. Place, i. Ouverture ............................. 1.29 1. ofi.The Ouverture ............................. 1.29 com to keep up toRegister date about online our today latest at releases www.linnrecords.com up to date about our latest releases and to of an all-Beethoven programme on and to 2.13 to keep by richard haughton 2. ii. Allegro ................................... 2. ii. Allegro ................................... 2.13 t more about our artists. find out more about our artists. 3. iii. Lento ...................................... 2.58 iii. Lento ...................................... 2.58 Front cover 3. painting: 4. iv. Allegro ................................... 2.13 iv. Rotunda, Allegro Ranelagh ................................... The Interior4. of the Gardens, 2.13 5. v. Allegro ................................... 2.45 5. canvas) v. Allegro ................................... 2.45 c.1751 (oil on by canaletto, 6. vi.
Allegro moderato
Front The In c.175 (Giov
(Giovanni Antonio (1697-1768) 6. vi. canal) Allegro moderato .............. 1.42
.............. 1.42 11
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J.S. Bach: Cello Suites