Related Reviews
Fanfare
'This is an essential addition to the Corelli discography. Urgently recommended.'
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Fanfare
'This is an essential addition to the Corelli discography. Urgently recommended.'
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BBC Music Magazine
4 Stars
'a subtle graciousness that seems to capture the essence of Corelli's polished style'
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American Record Guide
'I can recommend this release without reservation'
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International Record Review
'The Avison Ensemble sets its unique seal on the performance'
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SA-CD.net
5 Stars
'meltingly lyrical in the slow movements and full of life in the faster ones.'
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Gramophone
'...the sense of ensemble is faultless and, in the faster movements, breathtakingly impressive.'
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The Independent
5 Stars
Live Review: Corelli at Christmas, Avison Ensemble, Rebecca Bottone, Kings Place, London
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MusicWeb International
Recordings Of The Year 2012: 'The Avisons get the mix for this set of famous concerti absolutely right.'
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Classical CD Review
'Admirers of Baroque music will find much of interest...recorded with warm sound in a resonant acoustic excellent audio with performers in front.'
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Musique pour tous
'Great interpretation'
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The Irish Times
'...relaxed and purposefully pointed.'
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Audiophile Audition
'...highly refined and some have extremely virtuosic parts...'
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Music Web International
'...a strong claim to offer the lightest and airiest accounts that I’ve heard...'
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BBC Radio 3
'Delightfully amiable, effervescent performances of all twelve concertos recorded with an enjoyable level of warmth and detail.'
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Codaex
Arcangelo Corelli war zweifellos einer der „Top-Stars“ im Italien der Barockzeit,
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Sunday Times
...suave, personable performances
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Codaex
Features in: 'Codaex interesting releases October 2012'
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The Independent
'immense suavity and elegance'
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The Avison Ensemble - Corelli: Opus 6 - The Strad


10 December 2012
The Strad
Robin Stowell

This first album in the Avison Ensemble's project commemorating the 300th anniversary of Corelli's death offers well-considered period-instrument accounts that are stylish, imaginative and technically assured. Tempos are well measured and there is remarkable precision of ensemble throughout. Ripieno parts are alertly and crisply articulated and the sensitively phrased, lucidly balanced textures are infused with a wide range of dynamics and instrumental colour, revealing many fine interior details. Much is made, for example, of the expressive dissonances in the Graves of Nos. 3 and 8, and the antiphonal concertino-ripieno writing in the first Allegro of No. 2. The sheer energy of the first Allegros in nos.4-7 is exhilarating and the increased incidence of dance in concertos 9-12 is made abundantly evident.

Pavlo Beznosiuk has a sensitive concertino violin partner in Caroline Balding and they duet with taste, expression and refinement. Solo violin passagework is executed with poise, polish and precision, especially in the Allegro of No. 12, and extempore embellishment is supplied in tasteful doses, notably during reprises, at Phrygian cadences or as a link between two contrasting movement sections. Cellist Richard Tunnicliffe provides sensitive support and demonstrates his own virtuosity in the first Allegro of No. 1 and the Allemanda of No. 11. Roger Hamilton contributes some appropriate harmonic filler on harpsichord or organ, notably in the Adagio of No. 10 and archlutenist Paula Chateauneuf chips in with some delightful accompaniment in the Pastorale of No. 8 and the Adagios of Nos. 9 and 11. The recording is full-bodied and clear, yet rich in bloom.
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