Album insights
Around 1750, England emerged as one of the most music-friendly countries in Europe. Musical activities thrived in London's concert halls, pubs, amusement parks, and theaters, providing ample opportunities for both local and foreign musicians and composers. Unlike other centralized monarchies in Europe, musical life in England extended beyond the capital city, with most English provincial towns experiencing a lively concert scene in the latter half of the century. Orchestral associations, comprising gentlemen and professional musicians, were key drivers of this flourishing concert culture, accommodating both amateurs and paid professionals.
At the core of their repertoire stood the Concerto Grosso or 'Grand Concerto,' as commonly referenced in England. Originally developed in Italy for professional orchestras, especially those in churches, this genre found its way into England through London's theater orchestras. Handel notably used his concertos as interludes for operas and oratorios, recognizing their suitability for orchestral associations led by amateurs. Provincially, these orchestral groups relied on popular pieces like Corelli's Concerti Op. 6, Geminiani's Op. 2 and 3, as well as Handel's Op. 3 and 6 from London's editions by Walsh. By the 1750s and 1760s, local composers in the provinces started satisfying the growing demand for new works, with figures like Charles Avison, John Alcock, Richard Mudge, Pieter Hellendaal, and Capel Bond contributing fresh compositions to the vibrant musical landscape.
Capel Bond, born in 1730 in Gloucester as the son of a bookseller, led a multifaceted musical life. He served as an organist in various churches and actively organized concerts in his region, beginning around 1754 with performances of Handel's works. Bond extended his musical influence to growing cities like Birmingham, where he helped establish festival traditions and directed early festival concerts. Despite a decline in activity after 1770, possibly due to illness, Bond's legacy endured. His compositions, captured in volumes like 'Six Concertos in Seven Parts' (1766) and 'Six Anthems in Score' (1769), gained popularity and widespread demand from prominent figures in England's Midlands, maintaining Bond's musical significance over time.
Capel Bond's compositions, though somewhat overlooked today, demonstrate remarkable artistry and influence. Modeled after Geminiani's concertos, Bond's Concerti Grossi showcase a fusion of baroque and galant styles in their structure, revealing his unique talent for crafting compelling string arrangements and intricate fugues. Drawing inspiration from renowned composers like Handel and Boyce, Bond's works, influenced by trumpet and fagot concertos, embody a blend of innovation and homage to musical predecessors. His dance movements, informed by diverse inspirations, offer a glimpse into the rich tapestry of English musical heritage, with specific allusions to Scarlatti and Handel's compositions, underscoring Bond's ingenuity and enduring impact on provincial English music culture. Bond's concertos, notably Concerto No. 2 and Concerto No. 5, remained cherished pieces performed well beyond his time, attesting to their enduring value in the musical legacy of 18th-century England.