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Achievements
Composition
 As a composer Avison is best known for his 80 concerti grossi for strings. In 1758 he issued opuses 3, 4 and 6 as 'Twenty Six Concertos in Score for the use of performers on the harpsichord'. This was unusual for the time and was probably influenced by the publication of Corelli's concertos and sonatas in 1740 and Geminiani's op.2 and op.3 in 1755. In general Avison's concertos are modelled on Geminiani's and are unusually tuneful, delivering what Avison believed to be the value of 'air' or melody.Avison used his successful Subscription Concert series to try out his own compositions and arrangements before publication.
Writings
 In 1752 when the Subscription Concerts were firmly established and public awareness of music increasing, Avison published 'An Essay on Musical Expression', which is thought to be the first book of musical criticism in English.
It was designed to give audiences understanding of musical composition from which would emerge a deeper appreciation of the emotional influence of music. He did this by drawing a comparison between music and painting.
Avison wrote that the function of music was:
"...to divest the Soul of every unquiet Passion, to pour in upon the mind a silent and serene Joy beyond the power of words to express, and to fix the Heart in a rational, benevolent and happy Tranquility."
The essay also offered a spirited rejection of the accepted views of the day and courted controversy by stating that in Avison's view Geminiani and Marcello were better composers than Handel. As Handel was the musical heavyweight in England at the time this caused outrage amongst his supporters.
Subscription Concert Series
Charles Avison's subscription concerts were probably the greatest single musical influence in Newcastle in the 18th century, bringing Newcastle to the fore as one of the earliest provincial centres in Britain with a vigorous musical life.
They were a success from the outset with usually twelve or fourteen concerts in a season at fortnightly intervals.
As well as performing on organ, harpsichord, violin or flute; leading the orchestra and composing works for performance at the concerts, Avison was also director of the series and remained so until his death in 1770. Avison kept his finger on the musical pulse in London and took pride in presenting new works in Newcastle.
Programmes reveal that despite his published criticisms of Handel, Avison did include works of England's then favourite composer in his own concerts. For example in the 1766-67 season the programme included Handel's 'Water Music', 'Coronation Anthem' and 'Messiah'.
In the main Avison played Italian and French music and his own compositions, balanced with works by Purcell and Handel.
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