Converted By http://soundiiz.com, Spotify To Soundcloud

Classical Essentials

b i l l - y - t u d e \ˈbil-i-ˌtüd\ n., 1 a state of mind or feeling experienced when playing Billy Joel's piano licks. 2 a composition built on a technical foundation formed by Billy Joel's piano licks.

[This is recording is from Nicholas Phillips' American Vernacular CD, released January 7, 2014.] 

I built my piano [and musical] ground floor upon the stones laid by Billy Joel and Elton John. To this very day, when I hear Falling of the Rain or Laura, I can't help but picture a 16 year old me banging away on an out of tune upright.

The Cold Spring Harbor and Streetlife Serenader albums introduced me to
the rockabilly piano fills from the 50s and early 60s. These rockabilly fills are all over those albums and I learned quickly that I could throw one into almost any tune and get some smiles. My version of this type of fill takes center-stage in this etude and when the figure combines with some flying octaves that would make Liszt blush, it quickly moves into late night, totally badass piano thumping country. Something tells me my 16 year old self would approve.

bill-y-tude was commissioned by Nicholas Phillips with funds from the University of Wisconsin-Eau Claire Academic Affairs Division.

The premiere recording of bill-y-tude is available on New Focus Recordings’
American Vernacular: New Music for Piano, Nicholas Phillips, piano. (FCR 144)

[Digital copies are also available through iTunes and amazon MP3.]

To purchase the score, visit: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_132&products_id=1485

To find out more information about Joel Puckett, please visit either www.billholab.com or www.joelpuckett.com.

Buy the whole disc

bill-y-tude

Released 4th May - Preorder 'Live in Riga' http://thomasgould.bandcamp.com/

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

‘Violinist Thomas Gould is one of a new generation of classical musicians who refuses to be defined by a single genre’. GUARDIAN

‘One of the most talented and charismatic British violinists of the younger generation’. LONDON EVENING STANDARD

‘The young British violinist Thomas Gould seems intent on becoming the Nigel Kennedy of his generation… Scythingly scintillating playing from a young virtuoso with a magpie mind’. THE TIMES

‘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 Vaughan Williams - The Lark Ascending

Johann Sebastian Bach - Aria Da Capo,  Goldberg Variations, BWV 988 (Fine Classical Music)

Hey 👋 Making classical music is thirsty work, I could sure use a beer right now! Buy me a pint if you can! Cheers!

https://buymeacoffee.com/classical

🍺 Buy me a Beer! 🍺

Audius

Piano Sonata No.15 in F-Major, K. 533: III. Rondo Allegretto

Live recording from MM degree recital. 
Auer Hall, Indiana University, April 2002.
Nicholas Phillips, piano

Schubert, Sonata in B-flat Major, D.960 I. Molto moderato

Arrange for 5 tubas of the finale of the overture from the Wagner's opera Tannhäuser.

I played the five tuba parts

Finale from Tannhauser Overture (Richard Wagner)

Processional is inspired by, and takes its name from Norman Lewis’ artwork (1965), which is an abstract representation of the 1965 Selma to Montgomery March. Lewis slowly conveys the energy of the march through a series of white strokes, depicting those processing, within a central widening band; like a beam of light, as the procession grows in length and number. I was drawn to the simplistic, yet intricate beauty of Lewis’ piece, and its capability to powerfully embody such a significant moment in history. I also thought it apt that the title indicates continued processing, marching and protesting; that Lewis’ work is still very much relevant in the present day.

My musical representation starts slowly and quietly high in the piano’s register, steadily leading to gentle undulating and repetitive rhythms, which gradually builds in intensity to a forceful and driving section. The piece ebbs and flows in urgency in this way between contrasting bolder, and more delicate material; almost always constructed of free-flowing lines to reflect Lewis’ blurred white strokes. The work unrelentingly culminates to its final peak, punctuated by strong chords in the bass line. It returns to a remote fluidity, ending on a soft flourish as the procession continues into the distance.

HK (Jan. 2018)

Schubert, Sonata in B-flat Major, D.960 I. Molto moderato

Nicholas.Phillips

Related tracks