READ THOMAS Chamber and Piano Works
View record and artist detailsRecord and Artist Details
Composer or Director: Augusta Read Thomas
Genre:
Chamber
Label: Nimbus Alliance
Magazine Review Date: 08/2014
Media Format: CD or Download
Media Runtime: 79
Mastering:
DDD
Catalogue Number: NI6261
Tracks:
Composition | Artist Credit |
---|---|
Scat |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Walden Chamber Players |
6 Piano Etudes |
Augusta Read Thomas, Composer
Amy Briggs, Piano Augusta Read Thomas, Composer |
Double Helix |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Janet Sung, Violin Yuan-Qing, Violin |
Ring Flourish Blaze |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Jack Delaney, Conductor Southern Methodist University Wind Ensemble |
A Circle Around the Sun |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Walden Chamber Players |
Pilgrim Soul |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Robert Walters, Horn Stefan Hersh, Violin Steve Rose, Violin |
Traces |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Makiko Hirata, Piano |
Toft Serenade |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Charles Morey, Violin Frank Huang, Piano |
Starlight Ribbons |
Augusta Read Thomas, Composer
Augusta Read Thomas, Composer Daniel Schlosberg, Piano |
Author: Richard Whitehouse
The three piano pieces make for a viable conspectus of Thomas’s musical evolution over the intervening 17 years. The Six Etudes (1996) is a set of homages to mentors and colleagues – ranging from the slowly dissolving sonorities of that to Luciano Berio in ‘Orbital Beacons’, via the spare eventfulness of that to Feldman in ‘Rain at Funeral’, to the unexpectedly jazzy verve of that to Pierre Boulez in ‘On Twilight’. Traces (2007) then takes the allusive process further with such unlikely and yet enticing concoctions as Ástor Piazzolla crossed with John Coltrane in the distinctly hard-bopping ‘Tango’ or Thelonious Monk crossed with Chopin in the deceptively understated ‘Impromptu’. Starlight Ribbons (2013) is the most extended piece on this disc – what might be termed a ‘rhapsody’ in which a host of allusions (never quotations) are vividly integrated by dint of some resourceful and idiomatic piano-writing.
Throughout this programme, the performances (mostly by the dedicatees or those who gave the premiere) are unfailingly responsive to Thomas’s finely wrought and bracingly immediate language, while the sound betrays little evidence of having been compiled from a variety of sources. Those who have acquired the earlier disc will need no prompting with its successor.
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