Uploaded May 2009 | Updated September 2026, 3 weeks ago
CHARLES AVISON (1709 - 1770)
*based upon keyboard sonatas by GIUSEPPE DOMENICO SCARLATTI (1685 - 1757)
Concerto grosso No. 6 for two violins, cello, strings and basso continuo in D major
1. Largo
2. Con furia
Performed by Cafe Zimmermann
Directed by Pablo Valetti
*The first movement of this concerto is not based on any Scarlatti pieces whereas movements 2-4 are based on sonatas K. 29, K. 89c, and K. 21 respectively.
CHARLES AVISON (1709 - 1770)
*based upon keyboard sonatas by GIUSEPPE DOMENICO SCARLATTI (1685 - 1757)
Concerto grosso No. 6 for two violins, cello, strings and basso continuo in D major
1. Largo
2. Con furia
Performed by Cafe Zimmermann
Directed by Pablo Valetti
*The first movement of this concerto is not based on any Scarlatti pieces whereas movements 2-4 are based on sonatas K. 29, K. 89c, and K. 21 respectively.



![Avison - Concerto Grosso in G Major Op. 4 No. 6
CHARLES AVISON (1709 - 1770)
Concerto Grosso for two violins, cello, strings and basso continuo in G major Op. 4 No. 6
1. Adagio - Tempo giusto
2. Fuga da capella - Allegro moderato - Adagio
3. Fuga del teatro - Allegro spiritoso
4. Largo
5. Affetuoso
6. Aria pastorale - Andante
Performed by the Avison Ensemble
Directed by Pavlo Beznosiuk
*Charles Avison was an English composer during the Baroque and Classical periods. He was a church organist at St John The Baptist Church[1] in Newcastle and at St. Nicholass Church (later Cathedral). He is best remembered for his 12 Concerti Grossi after Scarlatti and his Essay on Musical Expression, the first music criticism published in English.
Little is known of Avisons early life. The son of Richard and Anne Avison, both musicians, he was baptised on 16 February 1709, at St. Johns Church in Newcastle. (According to the New Grove dictionary, he was also born in this city.) It is likely that he had early contact with Ralph Jenison, a patron of the arts, and later a member of Parliament.
As a young man, he traveled to London to study under Geminiani. However, his ties to his hometown remained strong, and on 13 October 1735, he was accepted the position of church organist at St. Johns Church in Newcastle. Shortly after, he also became organist at nearby St. Nicholass. Despite numerous offers of more prestigious positions later in life, he never again left Newcastle.
On 15 January 1737, Avison married Catherine Reynolds. They had three surviving children: Jane (1744-1773), Edward (1747-1776), and Charles (1751-1795). Edward and Charles both later served as organists at St. Nicholass, and Charles published a book of hymns.
In July 1738, Avison was appointed music director of the Newcastle Musical Society. He also collaborated with John Garths subscription concerts in Durham, and was active in local theatres.
The foundation of Avisons contemporary fame was his Essay on Musical Expression, published in 1752. It was the first work on musical criticism published in English.
Avison was one of the subjects in Robert Brownings Parleyings with Certain People of Importance in their Day: Hear Avison! He tenders evidence/That music in his day as much absorbed/Heart and soul then as Wagners music now.
Avison died on 10 May 1770, after being caught out in an unusual blizzard that hit from May 2-4. He is buried at St. Andrews in Newcastle.
Avison continued the Italian style tradition, which Geminiani had made so popular in London. In his Concerti Grossi, in particular, he carried on Geminianis technique of modeling orchestral concertos after sonatas by older composers. His Essay on Musical Expression criticized Handel, who was much admired in England at the time. Avison - Concerto Grosso in G Major Op. 4 No. 6](https://i.ytimg.com/vi/gKKkLV34KZU/mqdefault.jpg)






