John GARTH (1712 - 1810)
Accompanied Keyboard Sonatas, Op. 2 and Op. 4
Sonata in G, op. 2,1 [7:47]
Sonata in F, op. 2,2* [7:24]
Sonata in c minor, op. 2,3 [8:04]
Sonata in E flat, op. 2,4** [7:05]
Sonata in A, op. 2,5 [7:58]
Sonata in E, op. 2,6* [9:30]
Sonata in C, op. 4,1 [8:06]
Sonata in e minor, op. 4,2* [6:51]
Sonata in B flat, op. 4,3 [8:17]
Sonata in D, op. 4,4 [6:16]
Sonata in E flat, op. 4,5 [9:44]
Sonata in g minor, op. 4,6** [8:58]
Gary Cooper (harpsichord, fortepiano*, organ**)
The Avison Ensemble (Pavlo Beznosiuk, Caroline Balding (violin), Richard Tunicliffe (cello))
rec. 18-21 April 2008, St Martin's Church, East Woodhay, Hampshire, UK. DDD
DIVINE ART DDA 25115 [48:32 + 48:50]
The Avison Ensemble is a pioneer in the exploration of repertoire written
in north-east England, the region around Newcastle-upon-Tyne where Charles
Avison worked most of his life. The largest part of his oeuvre has been
recorded, and with this disc of music by John Garth the ensemble turns
its attention to a friend and probable pupil of Avison. He was born in
Durham and after finishing his musical education worked as organist at
St Edmund's Church in Sedgefield. He also became organist to the
Bishop of Durham at his official residence, Auckland Castle. As an organist
Garth was highly esteemed: he travelled far to give recitals and was asked
to inaugurate newly-built instruments.
In Durham he set up a concert series. His first attempt in 1742 was met
with little enthusiasm from the cathedral's organist whose choir
was the dominant force in concert life. In 1752 he organised a subscription
series, with the assistance of Avison, in direct competition to the series
of the cathedral choir. The animosity gradually dissipated and in time
the two series integrated. The fact that the cathedral had a new organist
in the person of Thomas Ebdon probably facilitated this process. Together
they promoted the concert series until 1772 when Garth gave up his activities
in this field. However, it is possible that he continued to play at concerts
in Durham.
He may have performed some of the sonatas recorded here. The accompanied
keyboard sonata was quite popular at the time, not only in England but
also on the continent, for instance in France. The two series of six sonatas
which are the subject of this set, were printed in 1768 and c.1772 respectively.
The fact that the op. 2 set had 261 subscribers for 323 copies shows the
reputation of Garth as a composer. Among the subscribers were famous names
such as Charles Burney, James Nares and John Stanley. The sonatas are
all in two movements: an allegro, followed by a piece in the form of a
rondeau or a menuet. This is music for domestic entertainment, playable
by amateurs. The strings play a subordinate role and only support the
keyboard.
Several sonatas include crescendo markings. This "gives an indication
that several of them were conceived for either a pianoforte, or for one
of the new developments in harpsichord-making that made subtle changes
in dynamics possible", according to Simon D.I. Fleming in the liner-notes.
The latter seems more plausible than the former. Although the new pianoforte
was known in England before 1750 it was only in the 1770s that it started
to establish itself as an alternative to the harpsichord, especially in
the London concert scene. That is not to say that it was also a common
instrument elsewhere, and I especially wonder whether amateurs played
such instruments at the time Garth published his sonatas.
Some of the sonatas here are played at the organ. This could be inspired
by the possibility that Garth - or other organists - may have played sonatas
from these sets in public concerts. There is also a possibility that some
aristocrats owned a small organ. The use of an organ is probably more
plausible than a pianoforte. It is a shame that the instruments which
Gary Cooper plays are not specified in the booklet.
Musical entertainment for amateurs - that could suggest that this is music
which is hardly memorable and goes in one ear and out the other. My experience
is different. It was not hard at all to listen to these sonatas at a stretch.
This is delightful music, very well written and with plenty of good themes.
There is never a dull moment here, and that is also due to the interpreters.
Gary Cooper, Pavlo Beznosiuk, Caroline Balding and Richard Tunnicliffe
deliver energetic and differentiated performances. This has resulted in
a highly entertaining set of discs, and it is a bit of a mystery to me
why these have been on the shelf for six years.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
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