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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: 14 minutes 2 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 G major
A Concerto for the Violin in Nine Parts, Longman & Broderip, London, c1785

Allegro moderato  [7'29]
Arioso  [2'52]
Rondeau  [3'41]

Introduction  EnglishFrançaisDeutsch
Brooks and Shaw were probably close friends. Their violin concertos are similar in style and form, and they were both issued in parts by the London publisher Longman & Broderip, probably at the same time; the title-page of the Brooks states it is ‘No 1’, but no sequel is known. Although they were published in London, they were probably written in Bath for the concerts there. They use the same pattern of movements, with an opening Allegro in a Mozartian march rhythm, a brief slow movement setting an apparently invented tune in the ‘Scotch’ style, and a rondo in the 6/8 hunting idiom, with prominent horn passages. Their solo parts are demanding but idiomatically conceived for the violin and they are thoroughly up-to-date, with a profusion of elegant, tuneful ideas in the manner of J C Bach. Not all English composers of the period, it seems, remained wedded to the past.

from notes by Peter Holman © 1996

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