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Garth: Cello Concertos Nos 1 - 6 / Tunnicliffe
John Garth (1721-1810) may not be a familiar name to many now, but in the north-east of England in the middle decades of the 18th century he was a well known figure, particularly in Durham, where he lived and worked as a concert promoter, organist and cellist. Newcastle knew him too, not least because that city’s leading musical light, Charles Avison, was a friend (and possibly teacher).
It is in the last two of Garth’s above-mentioned occupations that we meet him on this enterprising release, which offers the Six Concertos for the Violoncello published in London in 1760, but which he had been performing at such venues at the Durham Assembly Rooms for some years before. They turn out to be accomplished stuff: melodically attractive, pleasingly fluent and set out on a leisurely scale which, while occasionally suffering a phrase-repetition too many, at no time feels as if it is seriously outstaying its welcome.
Garth was a declared admirer of CPE Bach, and these concertos could be described as mid-century galant in style, if in a slightly conservative version which, like much English music of the time, can never quite forget Corelli. It rarely runs deep but it is always good company, and there are touching moments such as the melancholy slow movements of Concertos no. 4 and 5.
The Avison Ensemble is Newcastle-based and dedicated to rediscovering the music of the 18th-century north-east, and their performances are technically and musically skilled, both from soloist Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release.
-- Lindsay Kemp, Gramophone
It is in the last two of Garth’s above-mentioned occupations that we meet him on this enterprising release, which offers the Six Concertos for the Violoncello published in London in 1760, but which he had been performing at such venues at the Durham Assembly Rooms for some years before. They turn out to be accomplished stuff: melodically attractive, pleasingly fluent and set out on a leisurely scale which, while occasionally suffering a phrase-repetition too many, at no time feels as if it is seriously outstaying its welcome.
Garth was a declared admirer of CPE Bach, and these concertos could be described as mid-century galant in style, if in a slightly conservative version which, like much English music of the time, can never quite forget Corelli. It rarely runs deep but it is always good company, and there are touching moments such as the melancholy slow movements of Concertos no. 4 and 5.
The Avison Ensemble is Newcastle-based and dedicated to rediscovering the music of the 18th-century north-east, and their performances are technically and musically skilled, both from soloist Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release.
-- Lindsay Kemp, Gramophone
John Garth (1721-1810) may not be a familiar name to many now, but in the north-east of England in the middle decades of the 18th century he was a well known figure, particularly in Durham, where he lived and worked as a concert promoter, organist and cellist. Newcastle knew him too, not least because that city’s leading musical light, Charles Avison, was a friend (and possibly teacher).
It is in the last two of Garth’s above-mentioned occupations that we meet him on this enterprising release, which offers the Six Concertos for the Violoncello published in London in 1760, but which he had been performing at such venues at the Durham Assembly Rooms for some years before. They turn out to be accomplished stuff: melodically attractive, pleasingly fluent and set out on a leisurely scale which, while occasionally suffering a phrase-repetition too many, at no time feels as if it is seriously outstaying its welcome.
Garth was a declared admirer of CPE Bach, and these concertos could be described as mid-century galant in style, if in a slightly conservative version which, like much English music of the time, can never quite forget Corelli. It rarely runs deep but it is always good company, and there are touching moments such as the melancholy slow movements of Concertos no. 4 and 5.
The Avison Ensemble is Newcastle-based and dedicated to rediscovering the music of the 18th-century north-east, and their performances are technically and musically skilled, both from soloist Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release.
-- Lindsay Kemp, Gramophone
It is in the last two of Garth’s above-mentioned occupations that we meet him on this enterprising release, which offers the Six Concertos for the Violoncello published in London in 1760, but which he had been performing at such venues at the Durham Assembly Rooms for some years before. They turn out to be accomplished stuff: melodically attractive, pleasingly fluent and set out on a leisurely scale which, while occasionally suffering a phrase-repetition too many, at no time feels as if it is seriously outstaying its welcome.
Garth was a declared admirer of CPE Bach, and these concertos could be described as mid-century galant in style, if in a slightly conservative version which, like much English music of the time, can never quite forget Corelli. It rarely runs deep but it is always good company, and there are touching moments such as the melancholy slow movements of Concertos no. 4 and 5.
The Avison Ensemble is Newcastle-based and dedicated to rediscovering the music of the 18th-century north-east, and their performances are technically and musically skilled, both from soloist Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release.
-- Lindsay Kemp, Gramophone
$19.99
Garth: Cello Concertos Nos 1 - 6 / Tunnicliffe—
$19.99
Description
John Garth (1721-1810) may not be a familiar name to many now, but in the north-east of England in the middle decades of the 18th century he was a well known figure, particularly in Durham, where he lived and worked as a concert promoter, organist and cellist. Newcastle knew him too, not least because that city’s leading musical light, Charles Avison, was a friend (and possibly teacher).
It is in the last two of Garth’s above-mentioned occupations that we meet him on this enterprising release, which offers the Six Concertos for the Violoncello published in London in 1760, but which he had been performing at such venues at the Durham Assembly Rooms for some years before. They turn out to be accomplished stuff: melodically attractive, pleasingly fluent and set out on a leisurely scale which, while occasionally suffering a phrase-repetition too many, at no time feels as if it is seriously outstaying its welcome.
Garth was a declared admirer of CPE Bach, and these concertos could be described as mid-century galant in style, if in a slightly conservative version which, like much English music of the time, can never quite forget Corelli. It rarely runs deep but it is always good company, and there are touching moments such as the melancholy slow movements of Concertos no. 4 and 5.
The Avison Ensemble is Newcastle-based and dedicated to rediscovering the music of the 18th-century north-east, and their performances are technically and musically skilled, both from soloist Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release.
-- Lindsay Kemp, Gramophone
It is in the last two of Garth’s above-mentioned occupations that we meet him on this enterprising release, which offers the Six Concertos for the Violoncello published in London in 1760, but which he had been performing at such venues at the Durham Assembly Rooms for some years before. They turn out to be accomplished stuff: melodically attractive, pleasingly fluent and set out on a leisurely scale which, while occasionally suffering a phrase-repetition too many, at no time feels as if it is seriously outstaying its welcome.
Garth was a declared admirer of CPE Bach, and these concertos could be described as mid-century galant in style, if in a slightly conservative version which, like much English music of the time, can never quite forget Corelli. It rarely runs deep but it is always good company, and there are touching moments such as the melancholy slow movements of Concertos no. 4 and 5.
The Avison Ensemble is Newcastle-based and dedicated to rediscovering the music of the 18th-century north-east, and their performances are technically and musically skilled, both from soloist Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release.
-- Lindsay Kemp, Gramophone
