Birmingham Post - October 8, 2008
by
Clare Mackney
Town Hall, Sutton Coldfield
Birmingham Philharmonic Orchestra / Daniele Rosina
'...Gould...an engaging soloist who managed the (Sibelius) concerto’s technical demands impressively well for a first outing...
His vision was entirely gripping however, in the extreme delicacy of the poignant opening bars, in the warmth and intensity of more lyrical episodes, and the breathless hush which closed the Adagio.'
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Henley Standard - July 6, 2008
by Trevor Howell
St. Mary's Church, Henley-on-Thames
Senesino Players / Will Dawes
'After the interval, we were treated to a flawless rendering of Vaughan Williams’ The Lark Ascending. Violinist Thomas Gould’s stunning interpretation brought the audience to its feet.'
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The Classical Source (www.classicalsource.com) - June 15, 2008
by
Richard Whitehouse
LSO St. Luke's, London
London Contemporary Orchestra / Hugh Brunt
'Written for and associated to date with Anthony Marwood, Thomas Adès's Violin Concerto is evidently a work admitting of a variety of interpretations and received such a performance from Thomas Gould. Thus 'Rings' had an assertiveness which gave it more presence than hitherto, Gould relishing the incisive polyrhythmic interplay between soloist and orchestra that arguably made more of this Ligeti-cum-John Adams synthesis, while 'Paths' evinced a greater (though never unsubtle) emotion in the confronting of the soloist's lyrically intense writing with the orchestra's stabbing interjections and often-volatile textures, then 'Rounds' exuded aggression (albeit of the more playful kind) as well as irony such as helped to bring about a greater sense of formal and expressive closure. With Brunt ensuring disciplined and tightly co-ordinated playing throughout, this was an appreciably different and, moreover, convincing take on a piece that continues to impress and dismay in almost equal measure.'
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Seen and Heard (www.musicweb-international.com) - June 15, 2008
by
Carla Rees
LSO St. Luke's, London
London Contemporary Orchestra / Hugh Brunt
'Adès’s Violin Concerto is a tantalizing piece, full of character and charm. The baroque-influenced opening movement was thoroughly enjoyable, with Gould’s dazzling solo violin surrounded by a warm orchestral sound. The second movement forms the centrepiece of this triptych, and is altogether heavier, both musically and emotionally. The opening punctuated chords were played with precise ensemble and a well blended sound, combined with perfect intonation. The solo lines were expressively played and had the sense of being a single voice among the crowd, with the orchestral material supporting effectively. There were some beautifully performed solos from the flute section, and some impressive playing from the horn section. The musical direction was maintained well, except for a few central moments when the full orchestral sound overpowered the soloist. There were some breathtaking and powerful moments, taking in a whole range of emotions, leading to the end with its wonderfully hypnotic and transfixing repetitions of pitch sets. The final movement is much lighter, with changing time signatures and ritualistic drumming. The solo part was well controlled, with its long lines giving a melancholy contemplation to the proceedings. This was an excellent performance, with a soloist who commands attention and performs with style.'
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The Sunday Times - May 25, 2008
by
Paul Driver
St. John-at-Hampstead, London
Hampstead & Highgate Festival Orchestra / George Vass
...a revelatory Vaughan Williams
'After the Gorb, at the St John opening concert, came another immortal bird, Vaughan Williams’s The Lark Ascending, a work whose description as a romance for violin and small orchestra seemed, in this superbly paced account by Vass, with the brilliant young Thomas Gould, wholly inadequate: it is a full-blown concerto of amazing originality.'
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Hampstead & Highgate Express - May 15, 2008
by
Nicholas Williams
St. John-at-Hampstead, London
Hampstead & Highgate Festival Orchestra / George Vass
'In his performance of The Lark Ascending, violinist Thomas Gould's "silver thread of sound" confirmed his reputation as a leading young British recitalist.
With the Hampstead and Highgate Festival Orchestra, conducted by George Vass, he entered into the work's rhapsodic spirit in total confidence; in a fine example of musical teamwork.
All in all, the performance left no doubt that this rural tone poem, inwardly lit with a pure and visionary light, is among the all-time masterpieces of English music.'
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The Oxford Times - April 15, 2008
by
Giles Woodforde
Holywell Music Room, Oxford
'The F-A-E Sonata is quite a Liquorice Allsorts work. Three composers, Dietrich, Schumann, and Brahms got together to compose it as a birthday present for famed violinist Joseph Joachim. Joachim had to play the sonata at sight, and he also had to guess which composer had written which movement. In the performance given by Thomas Gould (violin) and John Reid (piano) for the Oxford Chamber Music Society, the composer quiz was easy - Dietrich is not in the same league as the other two, and the forceful opening chords of Brahms's movement identified him in three seconds flat. Schumann, meanwhile, contributed a notoriously tricky piece of sight-reading as a finale: "It must have been quite a surprise to Joachim," Gould remarked with a metaphorical wiping of the brow as he reached the end.
The concert began with Mozart's Sonata in G major, K.379. Gould's brittle tone contrasted appropriately with Reid's more relaxed piano, in a first movement reminiscent of Haydn's Sturm und Drang style. The second movement consists of a theme and variations - including a witty pizzicato section, made all the more attractive here by being played with delightful understatement. Next came Schubert's Sonata in A minor, D821, written to give a real work out to an arpeggione, a long-extinct variety of bowed guitar. This music seemed to suit Gould and Reid particularly well, with Gould's earlier brittle tone becoming smoother and sweeter, particularly in the upper register. He has a notable ability to hold a steady soft note, and to send out a singing melody, with Reid supplying appropriately supportive accompaniment.
Violin and piano were treated more as equals in the last work played, Introduction and Rondo in B minor for Violin and Piano, D895, again by Schubert - of the advertised finale, Szymanowski's Mythes, there was no sign. D895 alternates typical Schubertian flow and charm with much more aggressive passages. Gould and Reid demonstrated the contrasts with aplomb.'
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The Independent - March 17, 2008
by
Hannah Nepil
Holywell Music Room, Oxford
'Wandering past a posterboard for the Holywell Music Room coffee concerts, it is easy to feel a twinge of jealous admiration for the pro-active types who forego their Sunday morning torpor for a fix of culture and caffeine. The anxiety is quickly soothed, however, with comforting convictions of this breed's rarity. How very unnerving then, on one's first venture to this kind of concert, to encounter a room filled with audience members, as it was at this recital featuring the violinist Thomas Gould and John Reid on the piano.
From the kickoff into Franz Schubert's Fantasy in C, however, Thomas Gould and John Reid delivered the goods with finesse. Gould leapt into the piece, communicating an electric spark to the audience while maintaining a clarity and smoothness of tone. At the same time, Reid's sensitively judged rubato and articulation allowed the audience time to soak up every ounce of the highly expressive performance. Equally, in the third movement, Gould's light finger work and buoyancy was matched by Reid's cascading ripples across the keys.
Their rendition of Karol Szymanowski's Mythes, Op 30 was even more captivating. The ethereal world of the Greek myths was vividly portrayed by both performers. Reid's dynamic variety alone was enough to create a narrative in its own right, while Gould flicked between the gritty earthiness of the lower strings, and unearthly harmonics, skated out with a touch so delicate that his fingers seemed instead to float, cloud-like, above the surface of the string. This dream-like sense of the otherworldy was dispelled as Robert Schumann's Fantasiestucke brought the audience back to their senses. The lyricism of the first two movements was enhanced by Gould's finely nuanced vibrato and the dialogue between the two: the transfer of the line from the piano to the violin and vice versa was seamlessly accomplished. The two came together in the last movement with a sharp injection of vigour, which gathered up momentum as they hurtled towards the resounding final cadence.
Such an energetic performance, Sunday morning or not, is bound to have anyone skipping down the steps of the Holywell Music Room.'
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The Strad - March, 2008
by
Tully Potter
Wigmore Hall, London
'He clearly has bags of talent, including a splendidly equalised scale across the whole range, a clear, luminous tone and an appealing cantilena.'
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The Classical Source (www.classicalsource.com) - March 4, 2008
by
Ben Hogwood
Wigmore Hall, London
'Thomas Gould chose an ambitious programme for this lunchtime concert, one that demanded virtuosity, not just from the violinist but from pianist James (sic) Reid, who if anything was taxed more than his partner in the opening work, Schubert’s Fantasy.
The composer’s longest work for violin and piano, the Fantasy runs in ‘cyclical’ form, with a Theme and Variations at its centre. Occasionally in this performance however it felt as if the structure was too loose and accommodating, particularly when the faster music returned after the Variations.
That said, Gould and Reid performed with imagination and flair, if lacking some essential humour as the Variations progressed. They rightly took an expressive pause before Schubert’s main theme returned, which heightened the sense of resolution when it did arrive. Gould’s variance of tone was also a significant feature in this performance, beginning with restraint in response to the piano, but by the end fully asserted.
This range greatly benefited a fine and colourful performance of Szymanowski’s Myths, the three exotic pieces delving into rich colour and fantasy. Particularly affecting was Gould’s portrayal of Pan’s flute in ‘Dryades et Pan’, the glassy harmonics beautifully secure while Reid’s piano-sound hovered expectantly in the background. An appropriately humid air of mystery hung over the performance, with Reid’s use of the sustaining pedal contributing much to the piano accompaniment as it swirled around the violin figurations, themselves extremely secure in Gould’s hands. Indeed, both players were fully in command of the music, and were careful to emphasise the brief points of repose offered in an atmospheric ‘Narcisse’, before picking up the momentum once more.
After two relatively big works the inclusion of Schumann’s ‘Fantasy Pieces’ made sense. The composer wrote the works for clarinet, cello or violin with piano accompaniment.
Here Gould and Reid formed impressive ensemble, and if perhaps not finding the uninhibited joy of the third piece, their legato and rubato were sensitively employed elsewhere. The chromatic middle section of the second piece could also have found more in the way of humour, but the two kept a sense of communality, which after all was Schumann’s overriding wish for the function of this music.'
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Evening Standard - January 2, 2008
by
Fiona Maddocks
Big in 2008 - From pop to classical music to contemporary art, our critics name the young stars who will make their mark in the coming year.
'A boyish 24-year-old violinist from Hampstead is taking the orchestral world by storm, as leader of the edgy Aurora Orchestra and co-leader of Britten Sinfonia. He started violin lessons aged three and has never looked back, graduating from the Royal Academy of Music in 2006, since when he has carried off a host of prizes. His playing wins accolades for its "flawless beauty" "grace" and "porcelain delicacy".
Though building a steady career as a recitalist and soloist, his immediate impact will be with small, adventurous, elite groups such as Aurora which are the future of music. His favoured instrument is an Italian violin made by Gennaro Gagliano in 1754 - though on 7 January he premieres Nico Muhly's Concerto for Electric Violin with Aurora at the Royal Academy of Music.'
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Evening Standard - May 4, 2007
by
Barry Millington
Purcell Room, London
Gould breathes new life into Schoenberg
'Given the received wisdom that Schoenberg is death at the box office, it's always gratifying to find a good house for this wonderful composer. Last night's recital by the violinist Thomas Gould and pianist John Reid included the Four Pieces Op7 by Schoenberg's laconic pupil Webern, as well as his Phantasy, Op47. But this audience, boosted no doubt by the free admission made possible by the Martin Musical Scholarship Fund, seemed to take it all in its stride.
Gould and the hugely impressive Reid proved ideal advocates of this repertoire. In the Schoenberg they projected passion, mystery and suspense, as though unfolding a dramatic narrative.
The Webern crystallised full-throated lyricism, brooding introspection and expressionist angst in the miniature structures that make up this rewarding work.
Notwithstanding his ability to encompass both the minimal vibrato of historically informed style and a sweetness of tone that recalled an earlier, more Romantic, school of playing, Gould's account of Schubert's Arpeggione Sonata was compromised. Perhaps he meant to suggest the "bowed guitar" that the extinct Viennese instrument resembled, but his unduly self-effacing approach to the music left no room for Reid's contribution, which inevitably overwhelmed his own.
There were no such problems in the Brahms Sonata in G major. Gould's playing is full of breathtaking shifts of perspective and colour and his double-stopping is admirably secure.
Reid, too, brings an extraordinary musical intelligence to bear, and this was a reading informed both by inventive turns of phrase and a compelling over-arching logic.'
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Chichester Observer - April 5, 2007
by John Wheatley
Assembly Room, Chichester
Harmony and Conflict
'Assembly Room regulars enthusiastically welcomed the return of violinist, Thomas Gould, to Chichester, this time in concert with the gifted pianist, John Reid. It became immediately apparent that this was not just a popular violin player with piano accompaniment – rather a perfectly harmonized duo, possessing the instinctive ability to express emotion, romance and lyricism, yet ever ready to drive inexorably forward when confronted with tension and conflict.
Their recital began with Schubert’s lyrical Arpeggione Sonata, when the individual identities of piano and violin were temporarily set aside, both instruments combining so effectively that they created an astonishingly coherent musical language, spoken with but one voice – a memorable and quite unique interpretation. This, together with a poignant version of Brahms’ emotional 1st Violin Sonata, formed the framework for the evening’s dramatic centrepiece, an incredibly tense composition which highlights the individual character of each instrument – eerie, floating violin themes are often contrasted with aggressive, angry exchanges between piano and violin. Sergey Prokofiev’s 1st Violin Sonata, written in 1938, at the height of the Stalin regime, cannot be taken lightly and was given a remarkably articulate and intense reading by the duo. Although they maintain that they are not entirely familiar with much of his work, the two clearly registered their profound understanding of this volatile piece, conveying its unpredictable moods – gloom, cheerful optimism, fear, confidence – with violin and piano fighting their corner or calming down when required. Sergey would have been proud of them!'
Musical Opinion - April, 2007
by
Max Harrison
St. John's Smith Square, London
London Soloists Chamber Orchestra / David Josefowitz
'The other soloist was the violinist Thomas Gould, who gave a quite delectable account of Beethoven's Romance Opus 40.'
Gefle Dagblad - January 28, 2007
by
Camilla Dal (translation)
Konserthus, Gavle, Sweden
Gävle Symfoniorkester / Robin Ticciati
The music in focus
'After the intermission it's time for what we've been waiting for; the British violinist Thomas Gould, of the same age as conductor Ticciati.
Unfortunately Augustin Dumay fell ill, so what good fortune that Thomas Gould could take his place with just one day's notice. A little bit thankless to perform as a substitute of course, but I hardly think anyone in the audience was disappointed.
Beethoven's Violin Concerto opens orchestral, with elegant movements and energetic exclamation, with repetitions that resolve in sweet melodic lines, everything typical for Beethoven's music. After a while the soloist enters - what a fabulous tone in that violin!
Gould plays on an instrument from 1754, when Beethoven wasn't even born. The tone is exceptionally pure and clear, and I keep wondering where the tree that became raw material grew up: in the shadow high up on a mountainside?
There is where the best sounding wood grows, according to the book Qin by Cecilia Lindqvist.
Now I let myself get spellbound by the violin part that climbs high, high above the orchestra's woodwind and strings. Gould plays expressively and honestly, the music and nothing else is in focus.
The violin part is principally in the treble range and I wonder: how bright can a tone really be, how brittle – and still be heard? In the tutti part later the orchestra goes on and takes position against such recklessness. But no scolding bites on this sincere violinplay, purer than the whitest snow. It's very effective when the orchestra paints a dull background to the light embroidery.
Together with the orchestra and Ticciati, Gould creates a magical atmosphere, where the music hovers like a rainbow-coloured soap bubble, sincere, fragile and strong, occasional and eternal at the same time. Here is something like a hunting theme and an exciting part where the kettledrum and the violin play in turns. In the slow part the seriousness gets bigger and the music soft as the softest clouds.
The final rondo offers dancemagic and more exciting interaction between orchestra and soloist. After that the audience rises and applauds and whistles wildly. How good it became, in spite of illness. Besides, we are assured that Dumay is coming another time. Me myself, I'm pleased and walk home through the wintertown with Gould's violin-playing still sparkling in my ears.'
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Arbetarbladet - January 28, 2007
by
Bodil Proos (translation)
Konserthus, Gavle, Sweden
Gavle Symfoniorkester / Robin Ticciati
The audience was knocked by his appearance
'You can't disregard the fact that during Friday's concert we got the benefit to see two of the future's real big international musicians at the same time. Two boys of the same age knocked the audience with a single punch.
Robin Ticciati has already found his place in the hearts of the people of Gävle, but now he´ll share attention with Thomas Gould – 23 years old from London with the Gennaro Gagliano violin and the Nicolas Maline bow, who took Augustin Dumay's place with one day's notice when he became ill. I sat there wondering what he could improve in his playing, but I could only establish that there certainly are many older colleagues that can only dream about such a perfect performance as he accomplished on Friday night. During the years he'll probably technically put the finishing touches and find other possible interpretations, but already now he has a way of playing that speaks to a discriminating audience.
Beethoven's Violin Concerto isn't a simple little piece. It demands great virtuosity which Gould showed a brilliant example of. To such a degree that the audience couldn't keep from applauding between the movements. Myself, I liked the sequence where the soloist had a dialogue only with the kettledrums, a very effective part.
The standing ovations he immediately got and the four to five calls that followed, showed that the audience had loved to hear more from this soloist. I just say, bring him here again. And I believe many people agree.
When I walked home after the concert, I almost got caught by the night's youthful strength on stage. More of this, please!'
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Eastern
Daily Press - May 9, 2006
by
Edward Sutton
Assembly House, Norwich (Norfolk and Norwich Festival)
'Despite
all predictions, the sun came out at lunchtime in Norwich, but it was only here
that the rays of musical talent beamed down. Performing were Thomas Gould (violin),
Louisa Tuck (cello) and John Reid (piano).
The postgraduate students of the
RAM displayed their prowess with a performance of Beethoven's Variations in E
flat opus 44 and Schubert's Piano Trio in E flat D929.
An emotive, and not
overly indulgent, performance displayed beautifully the similarities of these
great Romantic composers while allowing their individual characters to shine through.
These musicians had an energy that abounded, producing a truly cohesive blend
throughout, knowing how and when to produce the right tone and quality to allow
each other to shine while sensitively addressing changes in key, tempo and mood.
A masterclass in piano-playing in itself, Reid has a technique to be envied.
From the very beginning these young musicians imbued quiet confidence, and this
was well founded. Their control of their instruments and understanding of the
style was incredible.
As is ever the case, the city continued to run its noisy
route during the recital, but this hardly detracted from the delightful rendition
by these talented young players.'
Hampstead
& Highgate Express - February 17, 2006
by David Sonin
Church of the Christian Community, Hampstead
'Beethoven's
10 Sonatas for Piano and Violin are what their overall title implies - for piano
and violin and that the keyboard has, if not dominance, something more than a
shade of equality.
One, therefore, had to admire the way in which this young
duo - in years as well as in musical partnership - approached and to a very great
extent resolved the issue of assertiveness in their performance of the Sonata
in G, Op.96 - the last of the 10.
The pair met and began performing together
at the Royal Academy of Music some three years ago and their progress, collectively
and individually, has been very impressive.
This was a performance that was
fresh, direct and devoid of mannerisms, though in terms of inner tension the sparks
might have just glowed a little more brightly.
Thomas, now 22, came more into
his own in the Five Melodies, Op.35 where, with very sympathetic accompaniment
he projected warmth and poetic imagination in these delightful romantic vignettes.
The best playing came in their final offering, Elgar's majestic Violin Sonata
in E minor, Op.82.
Boldly, Thomas presented the work as a concert-scale piece
with well-judged tempi and free but not excessive phrasing.
The slow movement
was particularly well crafted with playing that emphasised its dream like quality.'
Camden
New Journal - November 3, 2005
by Jane Wild
St. John-at-Hampstead, London
New
Professionals / Rebecca Miller
Tom's
star burns bright
'Beethoven's
Violin Concerto was no less substantial a challenge for Hampstead-raised soloist
Thomas Gould.
A recent graduate from the Royal Academy of Music, he has already
garnered international prizes for his playing. His measured, graceful style was
well suited to the piece.
Some of his phrases were crafted with such porcelain
delicacy it made me want to give everything up to learn the violin...an overall
assured performance that even won admiring, resounding applause from the orchestra's
brass players.'
Kleine
Zeitung, Graz - June 30, 2004
Minoritensaal, Graz, Austria
Kammerphilharmonie
Graz / Achim Holub
'The English violinist Thomas Gould played
with flawless beauty.'
(translation)
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