Avison's concerti grossi reinterpret Scarlatti's harpsichord music for a string ensemble, aiming to reveal the 'natural Beauty and Excellency' of the pieces by making them more accessible.
Composer's Artistic Vision
Charles Avison, the composer who arranged Scarlatti's sonatas into concerti grossi, described Scarlatti as 'bold and inventive' and considered him 'one of the great Masters of this Age'.
Album & Artwork
The album's cover design, featuring an 18th-century lock's keyhole, symbolizes the motivation behind Charles Avison's work and the performers' approach to rediscovering this repertoire.
Compositional Technique
The instrumental forces for these concerti grossi follow a traditional Baroque division between a concertino group (two solo violins, viola, cello) and a ripieno group (two violins, viola, continuo).
Historical Context
The publication of Scarlatti's sonatas in London by B. Fortier and Thomas Roseingrave marked the beginning of the 'English Cult of Domenico Scarlatti'.
Composer's Artistic Vision
A third element, beyond instrumental virtuosity and vocal-inspired melodies, that was decisive in the genesis of these works was the 'catalyst of folkloric ideas' from Spanish folk music, which influenced Scarlatti's sonatas.
Composition History
Domenico Scarlatti's keyboard sonatas were first published in London in the late 1730s, with the Essercizi per gravicembalo appearing around 1738.
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