Thomas Gould: Bach to Parker
View record and artist detailsRecord and Artist Details
Composer or Director: Dai Fujikura, Miles Davis, Mark Bowden, Graham Williams, Nico Muhly, Aziza Sadikova, John Hawkins, Ewen Campbell, Anna Meredith, Nimrod Borenstein, Johann Sebastian Bach
Genre:
Instrumental
Label: Champs Hill
Magazine Review Date: 02/2015
Media Format: CD or Download
Media Runtime: 70
Mastering:
DDD
Catalogue Number: CHRCD078
Tracks:
Composition | Artist Credit |
---|---|
(3) Sonatas and 3 Partitas, Movement: Partita No. 2 in D minor, BWV1004 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Thomas Gould, Violin |
A Long Line |
Nico Muhly, Composer
Nico Muhly, Composer Thomas Gould, Violin |
Charged |
Anna Meredith, Composer
Anna Meredith, Composer Thomas Gould, Violin |
Quasi una cadenza |
Nimrod Borenstein, Composer
Nimrod Borenstein, Composer |
Two Extremes |
Ewen Campbell, Composer
Ewen Campbell, Composer Thomas Gould, Violin |
La Baroque |
Aziza Sadikova, Composer
Aziza Sadikova, Composer |
Kusmetche |
Dai Fujikura, Composer
Dai Fujikura, Composer Thomas Gould, Violin |
Lines written a a few miles below |
Mark Bowden, Composer
Mark Bowden, Composer Thomas Gould, Violin |
Bobop |
John Hawkins, Composer
John Hawkins, Composer Thomas Gould, Violin |
Donna Lee |
Miles Davis, Composer
Miles Davis, Composer Thomas Gould, Violin |
Mr Punch |
Graham Williams, Composer
Graham Williams, Composer |
Author: Caroline Gill
That theory only bears out, though, if the Bach is played as straightforward, accomplished and without overpowering ego. It’s a relief, then, that Thomas Gould’s opening performance of the Chaconne on his disc ‘Bach to Parker’ is just that – an admirable performance technically (with just enough of a stamp of his own personality to make it distinctive), the tempo relationships make sense, and his musical argument is intelligent but uncomplicated. It is, then, the proper arbiter of the good and different things that follow, in the form of new works that in some way reflect Bach’s visionary sensibilities, from the evolution from simplicity to virtuosity of Nico Muhly’s compelling A Long Line (literally) to less conceptual references to the Chaconne such as the ghostly phrasing of Lines written a few miles below by Mark Bowden.
Champs Hill has proved itself reliable in backing winners among young musicians with particular potential for successful careers: all the new music on this disc showcases Gould’s versatility at the same time as allowing his unfussy, unegotistical playing of the new music to burgeon. Long may that virtuous circle continue in his radiant playing.
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