| 1 CD |
|
Notify when available |
| Label Champs Hill |
UPC 5060212590909 |
Catalogue number CHRCD 088 |
Release date 29 January 2016 |
The Gould Piano Trio, recently compared to the great Beaux Arts Trio for its “musical fire” and dedication to the genre in The Washington Post, has remained at the forefront of the international chamber music scene for well over twenty years. Launched by its first prize at the Melbourne Chamber Music Competition and subsequently selected as YCAT Artists, it toured in Europe and the USA as “Rising Stars” and made a highly successful debut at the Weill Recital Hall, described by Strad Magazine as “Pure Gould”. The trio’s appearances at London’s Wigmore Hall include the complete piano trios by Dvorak and Schubert and in the 2017–18 season a Beethoven cycle. At St George’s, Bristol, it performed and recorded these trios live for SOMM Records, arguably the pinnacle of the trio repertoire.
Its discography not only includes the renowned masterpieces of the repertoire but also many hidden gems, brought to life through an ongoing collaboration with clarinettist Robert Plane.
Trio cycles by Hummel (Naxos), Dvorak (Champs Hill Records) and Brahms have been complemented by the late romantic works of Charles Villiers Stanford, John Ireland, Robin Milford, Cyril Scott and Arnold Bax many of which are in world premiere recordings. A disc of contemporary works by Peter Maxwell Davies, Sally Beamish and James MacMillan (Champs Hill Records) was released in 2015 helping to bring contemporary British music to an international public.
Through its annual festivals in Corbridge, now in its nineteenth year, and Cardiff at the Royal Welsh College of Music & Drama, where the trio is Artist in Residence and recently were made Fellows, the Gould Piano Trio takes inspiration from playing a wide range of chamber music with colleagues in Oxford, and coaching aspiring young ensembles. Giving masterclasses at Dartington Hall and Aldeburgh have been rewarding ways of passing on their years of experience.
The trio has been given the opportunity, as Artistic Directors of the 2017–18 Leeds International Chamber Season, to curate a series of six concerts using invited artists as well as themselves to perform works from pre- Revolutionary Russia.
The Trio has been keen to commission new works: James MacMillan’s Piano Trio No.2, premiered to much acclaim at the Bath International Festival in 2014, Simon Rowland-Jones’ Piano Trio No.2 Eidfjord in 2016, a new trio from Mark Simpson After Avedon, and a clarinet quartet by Huw Watkins.
The Trio is delighted that the Simpson, being part of the PRS Beyond Borders scheme, has been chosen for the New Music Biennial in Hull (and at the South Bank in London) as part of the City of Culture celebrations in 2017, a fitting way to mark the 25th anniversary of this renowned ensemble the Gould Piano Trio.
Jakob Ludwig Felix Mendelssohn Bartholdy born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period.
Mendelssohn is often compared to Mozart. Both of them were child prodigies, both had a talented sister and they both died at a young age. Mendelssohn, who as a child also painted wrote poetry, was born in small family which converted to christianity from judaism. As a composer he preferred looking back, rather than forward: his main examples were Bach, Handel and Mozart. It was Mendelssohn who retrieved Bach from oblivion and pushed for a revival of his music, which still lasts today. One century after its premier, Mendelsson performed the St Matthew Passion for the second time ever, in 1829.
Three years, earlier, on his 17th, he had already composed his masterfully overture A midsummer night's dream op. 21, based on Shakespeare's play. Today, it is still considered as one of the absolute masterpieces in all of the orchestra reperoire. His Violin Concerto op. 64 belongs to the most beautiful works of the 19th century as well. During his travels through Europe, he wrote his brilliant Italian Symphony, Scottish Symphony and the overture The Hebrides.
Although Mendelssohn had a prosperous career, his weak physique made him emotionally vulnerable. The death of his favourite sister Fanny became fatal: Mendelssohn died in the same year, at the age of 38.
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