Hebden在North Yorkshire的小鎮Spofforth，於1712受洗。Hebden自幼就父母雙亡，但他有幸受到不錯的音樂教育，使他有一技之長。他會拉大提琴和古中提琴，也會吹低音管，並為當地的小樂團創作曲子，供他們公演。
1742年，他遷到倫敦，成為Vauxhall Gardens樂團的大提琴與低音管首席。文獻指出，他在韓德爾的親自指揮下，還曾表演過彌賽亞。Hebden為樂團的絃樂手，代表他的收入並不高，因此為了養家，他可能長時間待在樂團裡。
Hebden之所以會那麼無名，跟他只有出版兩套作品有關。同時期許多英國作曲家都譜寫了許多通俗歌曲，但Hebden可能基於一些自己的原則，不願意如此做。他的作品一為六首長笛奏鳴曲，而作品二為六首絃樂協奏曲。這些出版的作品二協奏曲，當初訂閱的同僚作曲家和其他社會上有地位的人士還不少，不過今天僅存在六本，兩部在英國，一部在比利時，而有三部在美國。
這些協奏曲，遵循了十八世紀英國人喜歡的大協奏曲形式，深受Geminiani曲風的影響。這些協奏曲旋律鮮明，慢樂章甜美，而快樂章華麗。聲部在對位的穿插上也非常平順，沒什麼生硬的地方，而且低音線豐富有變化。協奏曲裡常可以聽到一把或兩把獨奏小提琴的橋段，快樂章中更是明顯，有時候份量還不輕。整體而言，Hebden的作品二協奏曲是外向且動聽的音樂。
演奏的樂團為Adrian Shepherd帶領的Cantilena，是成立於1970的室內樂團，由16位當時是蘇格蘭國家樂團的成員所組成。他們花了兩年時間的籌備，找到他們要的音樂風格和表演方向。他們之後大力投入巴洛克和文藝復興時期的古樂，用的是現代樂器，但是他們找出自己的聲音，不會流於過度浪漫的詮釋方法。他們當時錄了一系列的巴洛克曲子，有些是自己英國比較不那麼大眾的作曲家，受到一定許多正面的評價。
由於我越來越偏好古樂器的音色和表演風格，因此對Cantilena的一些演奏方式，還是有諸多不能接受的地方。譬如說，他們有時加入濃烈的vibrato(抖音)，使音樂會變得慵懶。但他們的整體精神和活力我是肯定的。他們表演的Hebden作品二協奏曲，應該是我手邊的Cantilena錄音中，印象最深，最滿意的。第三號協奏曲第一樂章裡，小提琴穿梭在獨奏和樂團間，應該是最動聽的一段。而第六號，雖陰沉，但第三樂章的Grave是帶著一種鄉愁的淒美。
當初無意間買到這極冷門的曲目，卻格外喜歡。在我眾多現代樂器版的錄音裡，它也是少數仍使我滿意的CD。附帶一提，當初發現這些曲目的，正是Cantilena當初的音樂曲目顧問。當時她為了樂團找一些新奇的音樂，誤打誤撞，沒想到挖到了一個小寶。
John Hebden (1712-1765) was an 18th century late Baroque English composer. He was mainly forgotten after he died, only recently rediscovered in the 1980s. John Hebden was born in the small village of Spofforth, North Yorkshire. He was orphaned at an early age, but he was able to receive good musical education, as he learned how to play the cello, viola da gamba, and the bassoon.
In 1742, he moved to London, where he became the principal cellist and bassoonist of the newly expanded Vauxhall Gardens orchestra. It is known that he participated in a performance of the Messiah, which Handel personally conducted. His position in the orchestra was lower than the average singer, which meant that his salary was low and probably spent a lot of time with the orchestra just to make ends meet.
Hebden only published two opuses, which is a reason why he has been ignored so greatly. This recording is of his set of six Op.2 string concertos, modeled after Geminiani's Concerti Grossi. In the 18th century, the English have embraced Corelli and the smooth Italian music models and have mostly parted ways with the highly dissonant and contrapuntal writing that they had in the previous century. Hebden's concertos are fresh and melodic, whose slow movements sing and fast movements are vibrant. There is much counterpoint in the fast movements as well, but they are smooth and natural and not contrived. Instead of concertino groups, these concertos feature passages of one or two violins either interweaving with the string ensemble. Sometimes the passages have considerable weight on the violins that they take the spotlight.
The pieces are played by Cantilena under the direction of Adrian Shepherd. Interestingly enough, the pieces were discovered by Ruzena Wood, who was the repertoire consultant of Cantilena at the time. It is fitting that Cantilena made the first and possibly the only existing 20th century recording of the pieces. Cantilena was formed in 1970 by a group of Scottish musicians from the National Scottish Orchestra. They took two years to discuss and agree on a musical style that would most effectively convey Baroque and Renaissance music. They made a series of recordings on modern instruments, which received good acclaim at the time. The members have since moved on and took on other positions, but they get together every year at the Cantilena Festival on Islay.
Cantilena plays on modern instruments and adopt a middle-ground approach to Baroque music that isn't as overly romantic as the modern instrument players but not quite as focused as period groups. Hardcore supporters of period practices are probably not going to receive Cantilena's playing quite as well, due to their use of vibrato that creates a warmer and richer sonority than necessary. Nonetheless, Cantilena must be commended for an overall lively reading of the concertos. In fact, of the recordings of Cantilena that I own, this Hebden recording is most satisfying. The opening of the 3rd concerto, for example, features extensive violin parts that meander in and out of the orchestra. The 6th concerto, while on the somber side, has a nostalgic Grave 3rd movement.
Hebden's concertos represent some fine 18th century English string concerto writing. While it may take even more time for Hebden's music to deserve even more justice, Cantilena's recording is a solid and worthy one. Of the many modern instrument recordings, this is one of the few ones that I actually enjoy coming back to time after time.
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