英國的音樂潮流比起歐洲應該有慢個半世紀左右。當大協奏曲在歐洲本土 已過氣以後，仍然在英國很受歡迎。大協奏曲的好處，在於一個樂團裡所需要的音樂家素質，並不需要每個都是專業級的。常常獨奏樂器群 (concertino)的部份可交給專業的音樂家，但合奏群(ripieno)的部份，因為比較容易，則可由水準比較差，甚至是業餘級的音樂家來表演。 時常許多貴族的贊助者都會自己參與公演呢。
英國人對大協奏曲的喜愛，胃口一直是有增無減。因此，在Corelli，Handel，和Geminiani的音樂已經被表演到爛之後，便開始擴大內需，漸漸由自己的音樂家寫作協奏曲。其中 Stanley，Avison，Arne，和Boyce等，都是在Purcell後在英國音樂界小佔一席之地的作曲家。不過，除了在英國開始小部份的復甦 外，世界上別的地方仍是被遺忘的。
Capel Bond跟上述的幾位英國作曲家不同的地方，是他不是在首都倫敦音樂圈的作曲家，而是別的城的當地作曲家。可看出，當時只要是有點規模的城市，都不缺乏作 曲家為當地的音樂家編寫協奏曲。他遺留下的音樂只有兩套，一是這張CD所錄的六首七聲部協奏曲，另外是六首宗教聖歌。
這 六首七聲部大協奏曲，除了第一首有小號，第六首有低音管加入獨奏樂器群，剩下的四首都給絃樂器的。第一首開頭有法國序曲，而第六首的風格比較偏巴洛克和古 典時期中間的Galant風。其餘的絃樂協奏曲，則採用義大利形式大協奏曲，由慢樂章開頭，進入快樂章的賦格，然後再由舞曲風的幾個樂章做結尾。今天他的 音樂被公認是倫敦外的當地英國作曲家裡寫得最好的。另外一位Mudge的音樂我自己沒有，不過看來評價沒有像Bond的那麼好。Bond的音樂雖然在大協 奏曲的結構下，仍可聽出一些英式獨特的句法，雖比不上義大利作曲家們的音樂那麼平滑，但Bond的這些協奏曲仍稱得上是寫得很順暢。
錄 音部份，The Parley of Instruments，在Roy Goodman和Peter Holman的帶領下，也為Hyperion錄了不少有意思的英國巴洛克作品。(當然，正統的Handel，Corelli，和Vivaldi也錄了不 少。)他們的表演風格雖然很英派，不過在快樂章的地方其實還算有活力，而且因為小編制，所以顯得輕盈。有些慢的樂章，因為會過平穩而顯得沉重無趣。大體 上，前五首協奏曲都表演得不錯，不過第六首協奏曲的低音管部份有點令人失望。低音管的部份一直中氣不足，使得絃樂的動力，都被拖泥帶水了。
總 結，十八世紀的英國作曲家不是只有Handel和Purcell。除了之前介紹的外來Geminiani，更有許多「國產」作曲家像Capel Bond，活躍於其他當地。雖然比不上Corelli，Handel，Purcell，和Geminiani等大師，但所寫的音樂仍有收藏的價值。
Capel Bond (1730-1790) was an English composer who was at the heart of the England's musical scene in the 18th century. King George I (him being German) had been pivotal in further improving England's music culture, bringing Italian and German musicians from the Europe mainland.
England in the 18th century was filled with musical activities everywhere, from the royal court, theaters, to concert halls. As written previously in the Geminiani post, the English quickly adopted the Concerto Grosso, called "Grand Concerto." Not only did it engage a larger number of people, it was convenient because the hired professional musicians would play the concertino part, while the employers and other amateur musicians could handle the easy ripieno part.
Originally the English embraced music from foreign composers like Corelli, or quickly adopted foreign composers who made themselves home in England like Geminiani and Handel. However, the English soon had their own provincial composers to write concertos of their own, simply because of growing demand of these concertos. There was never a lack of need for them.
This is where Capel Bond comes in. He was born in Gloucester but moved to Conventry at the age of 19, becoming the organist at the Conventry Cathedral (called St Michael's Church at the time). He organized concerts and conducted at festivals in the area, so it seems that he was an active member of the local music community. Only two publications remain of him, the Six Concertos in Seven Parts on this CD and another Six Anthems in Score. Of these concertos, four are pure string concerto grossi, while the first concerto has a trumpet concertino and the last concerto a bassoon concertino.
The string concertos are clearly based on the early Italian models, particularly set by Geminiani, with a slow introduction leading into a fugue, and then finishing with dance-like movements. The first concerto by contrast, starts with French overture and ends with a minuet. The last concerto, the one with bassoon, has a later galant style, closer to the later classical era. Keep in mind that England's musical tastes were a bit behind the Europe mainland, and that while the concerto grosso started to go out of fashion in other parts of Europe, it was still widely popular in England. At the same time, England was aware of this change and would also slowly adopt this form of composition.
This recording of Bond's concertos was part of a series by Hyperion called "The English Orpheus" to introduce other music of 18th century England other than Purcell and Handel. Not sure if any real public awareness has changed, but it certainly opened a few doors for me and got me interested. The music is played by The Parley of Instruments Baroque Orchestra under the conducting of Roy Goodman, where they have also recorded a variety of both popular and unknown Baroque music. The music is aptly played by Parley in the usual English manner. Their playing on different recordings have been a mixed bag for me. The fast movements are generally handled nicely, with brisk tempi and a light touch. The slow movements, on the other hand, can have tendencies to drag and sound uninspiring.
The string concertos are generally played well. I cannot say the same about the last concerto with the bassoon. The string playing is lively, but it seems to be continually bogged down by the bassoon. I was expecting something more. The bottom line is that this music deserves to be heard, and I would be happy to sample this music over another recording of Handel's op.3 Concerti Grossi.
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