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A View of the Abbey Mill and Weir on the River Avon at Bath by Thomas Ross (fl1730-1745)
Ackermann & Johnson Ltd / Bridgeman Art Library, London
CDA66865
Superseded by CDH55260

Recording details: January 1996
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell & Julian Millard
Release date: June 1996
Total duration: 63 minutes 17 seconds

GRAMOPHONE CRITICS' CHOICE

'This disc proves as delightful as it is surprising … a disc of rarities that will give much unexpected pleasure' (Early Music Review)

'Playing of touching beauty in the slow movements and infectious energy elsewhere, supported by a robust and fragrant orchestral accompaniment. Bravo to all concerned for another distinctive release in the [English Orpheus] series' (Gramophone)

'The performances transcend specialists' interest and the recording should therefore appeal to the broadest possible range of listeners. Highly recommended' (Fanfare, USA)

Classical Violin Concertos
Elizabeth Wallfisch (violin), The Parley of Instruments, Peter Holman (conductor)
LISTEN TO ALL EXTRACTS
Violin Concerto No 1 in D major  James Brooks (1760-1809)
1
Movement 1: Allegro moderato  [8'05]
2
Movement 2: Largo affettuoso  [2'08]
3
Movement 3: Rondeau  [5'08]
Violin Concerto in F major  Thomas Linley (1756-1778)
4
Movement 1: Moderato  [7'24]
5
Movement 2: Adagio  [1'55]
6
Movement 3: Rondeau  [6'38]
Violin Concerto in G major  Thomas Shaw (c1755-1830)
7
Movement 1: Allegro moderato  [7'29]
8
Movement 2: Arioso  [2'52]
9
Movement 3: Rondeau  [3'41]
Violin Concerto No 2 in D major  Samuel Wesley (1766-1837)
10
Movement 1: Allegro maestoso  [10'13]
11
Movement 2: Largo  [3'50]
12
Movement 3: Rondeau  [3'54]
These four delightful concertos are the work of young men: Linley and Wesley were still in their mid teens when they wrote them, Shaw and Brooks probably not much older. It reminds us that artistic talent tended to be fostered and developed early at a time when lives were shorter and more uncertain than today. The work by Linley is the only survivor of his twenty violin concertos and strongly shows the influence of his Italian travels. The Wesley is similarly bold in the juxtaposition of apparently contrasting styles, here the Classical and the Baroque. While Shaw and Brooks remain in rather greater obscurity (the latter not even earning a mention in Grove), their concertos are equally attractive and assured.