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 - March/April, 2007
St. John's Smith Square, London
'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)
Gavle Konserthus, Sweden
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)
Gavle Konserthus, Sweden
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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FULL REVIEW IN SWEDISH
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's, Hampstead
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
Kammerphilharmonie
Graz / Achim Holub
'The English violinist Thomas Gould played
with flawless beauty.'
(translation)
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