Charles Avison

Regardless, Avison was born into a family with a high rate of infant mortality, as many of his siblings died at a young age.

[5] His education may have included an apprenticeship with a local merchant named Ralph Jenison, a patron of the arts, and later a Member of Parliament, as well as further study of music.

Avison then accepted a position as organist of St. Nicholas Church in October 1736,[8] and later was appointed director of the Newcastle Musical Society.

[3] Much of Avison's income was generated through a series of subscription concerts which he helped organise in the North East region of England.

According to his will, he had become a very wealthy man between his collection of books, musical instruments, and his stock holdings, which were left to his children.

He is said to have had no fear in expressing his strong ideas with elaborate language, an incredible understanding of music, and a sense of humour.

[8] In addition to his published essays, Avison often wrote lengthy prefaces to his compositions, which have been called “advertisements.

Avison states that "A full chord struck, or a beautiful succession of single sounds produced, is no less ravishing to the ear, than just symmetry or exquisite colours to the eye.

For each condition, multiple composers are named in varying degrees to which they offend the balance between these two aspects of music.

One such passage in the essay exemplifies this: "In these vague and unmeaning pieces, we often find the bewildered composer, either struggling with the difficulties of an extraneous modulation, or tiring the most consummate patience with a tedious repetition of some jejune thought, imagining he can never do enough, till he has run through every key that can be crowded into one movement; till, at length, all his force being exhausted, he drops into a dull close; where his languid piece seems rather to expire and yield its last, than conclude with a spirited, and well-timed cadence.

"[10] This essay is often viewed as judgemental and controversial, mostly because of the strong opinions put forth in the section critiquing composers.

Avison then published a response to Hayes's writing titled A Reply to the Author of Remarks on the Essay on Musical Expression in February 1753.

Avison composed a small amount of sacred music including a verse anthem, a hymn and a chant, and a collaborative oratorio with Felice Giardini entitled Ruth.

Avison continued the Italian-style tradition, which Francesco Geminiani heavily attributed to his popularity in London.

In his Concerti Grossi, in particular, he carried on Geminiani's technique of modelling orchestral concertos after sonatas by older composers.