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Hyperion Records

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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
Track(s) taken from 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: 15 minutes 57 seconds

'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)

'This disc proves as delightful as it is surprising … a disc of rarities that will give much unexpected pleasure … I heard this CD on its first release and absolutely loved it. I was astonished that the violin concerto had reached such levels in classical England … these are four challenging, tuneful pieces that deserve to be heard again and again' (Early Music Review)

'It's good to see this fine recording reissued at mid price … these concertos are attractive, tuneful and extremely accomplished' (Classic FM Magazine)

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

Violin Concerto in F major
composer
British Library R.M. 21h.10(2)

Moderato  [7'24]
Adagio  [1'55]
Rondeau  [6'38]

Introduction  EnglishFrançaisDeutsch
Thomas Linley is said to have composed at least twenty violin concertos, but only one survives complete. The score was included in one of the memorial volumes compiled for George III after the composer’s death and it is still in the Royal Music Collection of the British Library. It was probably written after his return to Bath from Italy, for it displays a mature grasp of the galant idiom of his teacher Nardini and other Italians, and, of course, immigrants resident in London, such as J C Bach and C F Abel. In particular, the solo part in the first movement is much more varied than in the English concertos he would have known before he left home. It does not consist just of rapid scales and arpeggios, but also includes themes borrowed from the ritornelli, often presented in the highest register of the violin, as well as fearsome passages in thirds, sixths and octaves—some of which imitate hunting horns. The orchestral writing, too, is unusually varied and imaginative, with haunting piano cadences coloured by antique suspensions and the rich colours of horns and bassoons doubling the strings. The brief but impassioned slow movement is in the ‘Scotch’ style fashionable at the time, while the finale is a delicious Rondeau in gavotte rhythm with hints of distant bagpipes.

from notes by Peter Holman © 1996

Other albums featuring this work
'The Essential Hyperion, Vol. 2' (HYP20)
The Essential Hyperion, Vol. 2
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