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Peter Holman, A century of English music, Early Music, Volume 36, Issue 2, May 2008, Pages 341–343, https://doi.org/10.1093/em/can014
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Extract
A couple of recent releases remind us of the richness of English provincial musical life in the 18th century, the more remarkable in that it was based on music clubs and orchestral societies rather than the professional musical establishments at the court and churches of Italy and German-speaking Europe. The cellist and organist John Garth (1721–1810) was probably a pupil of Charles Avison and spent his working life in Durham and the north-east, as organist to the Bishop of Durham at Bishop Auckland and as a participant in, and organizer of, concerts in the region. Garth: Cello concertos, op.1 (Divine Art DDA25059, rec 2006, 94′) is a complete recording of a set published in 1760. They are accomplished and substantial works in the galant style, if a little stereotyped: they are all in three movements, starting with an opening fast movement in a relaxed post-Vivaldi idiom and mostly followed by an Andante in that hymn-like slow triple time beloved of English composers of the period. Some of the last movements have the wit and bustle of comic opera arias by composers such as Arne and Dibdin. Richard Tunnicliffe is a stylish and persuasive advocate for these charming works, and he is ably accompanied by the Avison Ensemble, led and directed by Pavlo Beznosiuk. My only reservation, apart from a couple of instances of ragged ensemble, is that the accompaniment consists only of a string quartet, double bass and harpsichord; Garth published the concertos using the concerto grosso format with four violin parts, and gave the concertino violins solos in three of the concertos. This release is one of a series by the Avison Ensemble exploring music from the north-east. I hope that they will consider recording some of Garth's popular sonatas for harpsichord, two violins and violoncello.
