You Write The Reviews: Thomas Gould and John Reid, Holywell Music Room, Oxford
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Wandering past a posterboard for the Holywell Music Room coffee concerts, it is easy to feel a twinge of jealous admiration for the pro-active types who forego their Sunday morning torpor for a fix of culture and caffeine. The anxiety is quickly soothed, however, with comforting convictions of this breed's rarity. How very unnerving then, on one's first venture to this kind of concert, to encounter a room filled with audience members, as it was at this recital featuring the violinist Thomas Gould and John Reid on the piano.
From the kickoff into Franz Schubert's Fantasy in C, however, Thomas Gould and John Reid delivered the goods with finesse. Gould leapt into the piece, communicating an electric spark to the audience while maintaining a clarity and smoothness of tone. At the same time, Reid's sensitively judged rubato and articulation allowed the audience time to soak up every ounce of the highly expressive performance. Equally, in the third movement, Gould's light finger work and buoyancy was matched by Reid's cascading ripples across the keys.
Their rendition of Karol Szymanowski's Mythes, Op 30 was even more captivating. The ethereal world of the Greek myths was vividly portrayed by both performers. Reid's dynamic variety alone was enough to create a narrative in its own right, while Gould flicked between the gritty earthiness of the lower strings, and unearthly harmonics, skated out with a touch so delicate that his fingers seemed instead to float, cloud-like, above the surface of the string. This dream-like sense of the otherworldy was dispelled as Robert Schumann's Fantasiestücke brought the audience back to their senses. The lyricism of the first two movements was enhanced by Gould's finely nuanced vibrato and the dialogue between the two: the transfer of the line from the piano to the violin and vice versa was seamlessly accomplished. The two came together in the last movement with a sharp injection of vigour, which gathered up momentum as they hurtled towards the resounding final cadence.
Such an energetic performance, Sunday morning or not, is bound to have anyone skipping down the steps of the Holywell Music Room.
Hannah Nepil, Student, London
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments