The fashion of the concerto grosso in mid-eighteenth-century England was such that composers and publishers took advantage of it to create a series of arrangements at a time when the genre was losing momentum in the country that gave birth to it, Italy . Provincial composer, now famous for his often harsh writings against his contemporaries, except for his master Geminiani and, of course, Domenico Scarlatti, Charles Avison contributed greatly to the revival of the genre across the Channel. Published by him in 1744, the series of twelve Concerti grossi in seven parts according to Scarlatti sonatas is not limited to a simple instrumentation since the Briton operates here a few cuts, modifies elsewhere the harmony when it does not change everything And / or tempo in order to adopt a four-movement form where the original was invariably limited to two. We are pleased to find the Concerto K?ln in great form in a representative selection of these concertos which has not forgotten the famous No. 5. The ensemble offers roorative interpretation, cultivating contrasts and a certain "symphonic roundness" of sound By means of ample strokes of the bow, even if the energy is always ready to breathe, as witnessed by the Con furia of the Concerto n ° 6. If the version of the Concerto K?ln imposes itself in front of the placid and courteous integral By Neville Marriner (Philips, 1978), and the much too monochrome anthology concocted by the Caf? Zimmermann (Alpha, 2002), we may prefer the dancing phrases that Roy Goodman, the head of the Brandenburg Consort since his violin, Elegance (Hyperion, 1994
