Thomas Dunford began studying the lute at age 9. He was enrolled in the class of Charles-Edouard at the Conservatoire Supérieur de Paris, where he won first prize with honors in 2006. He continued his studies with Hopkinson Smith at the Schola Cantorum in Basel. He has performed internationally as a soloist and as a chamber musician, frequently appearing with modern chamber orchestras and period ensembles across Europe and in Asia. He regularly plays with Ensemble Marsyas in classical and jazz works, and he has recorded with Monica Huggett, Andrea Benedetti, Jean-Michel Fumas and the Eliza Consort, La Sainte Folie Fantastique, La Cappella Mediterranea, Ensemble Clématis, La Serenissima, Capricio Stravagante, Arcangelo, and Pygmalion.
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Classical - Released June 8, 2018 | Alpha
Hi-Res Booklet Distinctions Gramophone Editor's Choice
This is not the place for yet another disquisition on the widespread baroque practice of transcribing works: Bach was no stranger to it himself, to say nothing of Handel, who plagiarised himself over and over; and this album gives us the Cantor transcribing the Cantor. In this instance we are looking at the Fifth Suite in C Minor for cello, which he re-wrote for the lute. Taking his lead from the composer, lutist Thomas Dunford has done the same to the First Suite for cello, and revised it for his instrument. Obviously, the music seems renewed, elucidated in many different ways: the styles, the reverberations, the harmonies, the counterpoints all develop differently, but we are still hearing original Bach: it's just that its richness is distributed differently in our ears. Dunford offers us a generous "B-side" in the form of a transcription of the Chaconne taken from the Suite for Solo Violin in D Minor, another superb exercise in reconsidering balances while respecting the letter of the music. It remains astounding what one can do with Bach, without ever betraying the spirit of his works. © SM/Qobuz
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