Benjamin Capps, cello
David Kaplan, piano

Recorded May 31, 2013 at Vermont Public Radio in Colchester, Vermont, as part of Vermont Public Radio and Burlington Ensemble's Beyond Beethoven collaboration.

Recording engineer: John Billingsley


Felix Mendelssohn:  Cello Sonata No. 1 in B-flat Major, Op. 45

First movement of Telemann's delightful Concerto in E Minor for Recorder and Flute (TWV 52:e1). Performed on an Akai EWI USB wind controller using virtual instruments (sampled and modeled): alto recorder (Wallander Instruments), flute (Samplemodeling), strings (Garritan/EWI), and harpsichord (Mondartt).

Telemann: Concerto in E Minor for Recorder and Flute, TWV 52:e1 - 1. Largo (2014.07.12)

Kjell Fagéus, clarinet Hans Samuelsson, bassoon Stefan Bojsten, piano (Early recording 1979)
Presto - Andante - Allegretto grazioso


Felix Mendelssohn-Bartoldy Concert Piece nr 2 op. 114

N. Paganini - Capricho no. 5 em lá menor

THOMAS GOULD Live in Riga
Sinfonietta Riga

1-3. Violin Concerto in D, Op. 61 - Ludwig van Beethoven
	I. Allegro ma non troppo
	II. Larghetto
	III. Rondo (Allegro)

4. The Lark Ascending - Ralph Vaughan Williams  

Produced by Raphaël Mouterde
Executive producer Dave Stapleton

‘Live in Riga’ is the major new album from the celebrated 31 year old British violinist Thomas Gould.  Recorded live in concert with Sinfonietta Riga on April 11th 2014 at the Great Guild Hall in Riga, Latvia, it confirms Gould’s enormous potential as one of the most inventive and colourful instrumentalists of his generation.  Gould is no ordinary classical musician but one of a new generation who refuse to be defined by a single genre.  He has developed impressive jazz credentials, but it is in this environment as soloist/director of classical repertoire where he really excels.  The Times recently described Gould as “intent on becoming the Nigel Kennedy of his generation”.  Gould, however, is incomparably his own musician.  Bold and courageous enough to forge his own path and follow his singular vision, he steps outside the footsteps of the greats.

‘Live in Riga’ is a defining album for Gould, his first disc of a three-album deal with forward-thinking British jazz and classical record label Edition Classics.  Over the last decade he has been in demand as a soloist with major orchestras worldwide, including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra and LA Phil New Music Group.  He is also much in demand as a leader/director, working with Britten Sinfonia, Aurora Orchestra, Mahler Chamber Orchestra and the Australian Chamber Orchestra’s ACO2, but it’s when he brings these disciplines together that the magic happens.  As Gould explains, “It means that everyone plays in a more engaged way. There is a group commitment to making it work, so the process is much more collaborative than when working with conductor.”

Sinfonietta Riga is an orchestra with a story to tell.  Formed in 2006, their vision is as bold as Gould’s.  Equally happy to play in concert dress or T-shirts they are intent on building new audiences for the music while reaching for the highest artistic standards.  Their collaboration is a perfect match and a unique experience for both the orchestra and for Gould.  This live concert recording bears witness to this special musical symbiosis.

To release an album featuring Beethoven’s Violin Concerto and Vaughan Williams’s The Lark Ascending is a bold decision.  As two cornerstones of the violin repertoire, there are plenty of performances to compare, but Gould’s versions demonstrate a brilliance of tone and colour that demands attention.  His flexibility and breadth of musical interests is fully evident.  Gould’s playing has the clarity you would expect from any major performer but radiates a freedom in its expression as though improvised with an immediate elegance and poise.

For Gould it’s all about achieving the right balance.  Whether it’s jazz or classical, written or improvised, as soloist or director, Gould is right in the eye of the storm.  If the dark clouds gathering in the wider music world imply that the days of the single-minded virtuoso are coming to an end; if to succeed in that brave new world we need to attract more diversity and brighter colours, then in Thomas Gould we may have found the lightning conductor to spark a new generation.


THOMAS GOULD Beethoven - Violin Concerto In D, Op.61 - II. Larghetto

Second movement (adagio) of Albinoni's Oboe Concerto in D minor. Performed on virtual instruments (Baroque oboe, strings, harpsichord) using a wind controller (Akai EWI USB).

Albinoni: Oboe Concerto in D minor, Op.9, No.2 - 2. Adagio (2015.12.19)

OF 0014 1 CD STEREO ADD
CARLO MARIA GIULINI /
ORCHESTRA DEL MAGGIO MUSICALE FIORENTINO

Ludwig van Beethoven
Egmont op. 84 Ouverture
Sinfonia n. 7 in la maggiore op. 92

Firenze, Teatro Comunale, 29-30 giugno 1984

CARLO MARIA GIULINI / ORCHESTRA DEL MAGGIO MUSICALE FIORENTINO

Finale dell'Ouverture Egmont di Ludwig van Beethoven diretta da Carlo Maria Giulini

The Glory of Bach

Brandenburg Concerto No. 3 III. Allegro BWV 1048

This upbeat piece, from Jean-Baptiste Lully's « Le bourgeois gentilhomme», caught my ear while watching a movie about a serial killer who left behind a CD with this music on it at the crime scenes. I’ll spare you the details of how this music relates to the murders; but will say that one of the detectives googled the composer's name, and learned that when he conducted his music, he used a staff («baton») to pound out the beat on the floor. During one performance, Lully missed the floor and rammed the staff into his foot instead, which became infected, and he eventually died of gangrene. Ok, gruesome; but, the music is delightful, I think. Performed here on virtual instruments: strings for the first time through, woodwinds (recorders, oboes, and bassoon) the second time, and tutti the third time (with continuo and percussion throughout). Played on a wind controller (Akai EWI USB).

Castle Consort

Lully: Marche pour la Cérémonie des Turcs (2018.01.27)

Fourth movement from Jean-Marie Leclaire's Flute Sonata No. 6 in E minor (from Opus 1), performed on virtual flute, harpsichord and cello, using a wind controller (Akai EWI USB). Heard this sonata played by Janet See (“The flutist of choice in baroque repertoire”) on Baroque flute at a recent master class at San Francisco Conservatory of Music. Was inspired to try my own interpretation; really a delight to play!

Leclaire: Sonata No. 6 in E Minor - 4. Allegro (2018.04.29)

Bach: BWV 972 - 2. Larghetto - 2013.06.02

Exploring the potential for using virtual instruments to create a realistic early music sound, with an emphasis on Baroque music. ¶ Esplorante la eblecon por uzi virtualajn instrumentojn por krei realisman fru-muzikan sonon, kun emfazo je baroka muziko.

Leclaire: Sonata No. 6 in E Minor - 4. Allegro (2018.04.29)

Jason Castle