Thomas Adès
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1971-03-01
https://musicbrainz.org/artist/7f557db7-8e75-434a-b96f-41b7873ce044
Thomas Adès Thomas Adès Thomas Adès Thomas Adès

Biography

Thomas Adès studied at the Guildhall School of Music & Drama with Paul Berkowitz (piano) and Robert Saxton (composition) and then read Music at King’s College, Cambridge, graduating in 1992. Two years earlier he had already written his Five Eliot ...

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Conlon Nancarrow, Lidija Bizjak, Sanja Bizjak & Thomas Adès
Study no. 7
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Study no. 7 Study no. 7 Study no. 7 Study no. 7
François Couperin, Nicholas Collon, Aurora Orchestra & Thomas Adès
Les barricades misterieuses
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Les barricades misterieuses Les barricades misterieuses Les barricades misterieuses Les barricades misterieuses
Thomas Adès & Doric String Quartet
The Four Quarters For String Quartet
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The Four Quarters For String Quartet The Four Quarters For String Quartet The Four Quarters For String Quartet The Four Quarters For String Quartet
Thomas Adès, Thomas Adès & Mary Carewe
Life Story
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Life Story Life Story Life Story Life Story
Thomas Adès, National Youth Orchestra of Great Britain & Paul Daniel
Powder her face - suite for orchestra
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Powder her face - suite for orchestra Powder her face - suite for orchestra Powder her face - suite for orchestra Powder her face - suite for orchestra
Thomas Adès, National Youth Orchestra of Great Britain & Paul Daniel
Powder Her Face: Overture
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Powder Her Face: Overture Powder Her Face: Overture Powder Her Face: Overture Powder Her Face: Overture
Thomas Adès & Calder Quartet
The Four Quarters, Days, 3rd mvt
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The Four Quarters, Days, 3rd mvt The Four Quarters, Days, 3rd mvt The Four Quarters, Days, 3rd mvt The Four Quarters, Days, 3rd mvt
Thomas Adès & Calder Quartet
The Four Quarters, No. 4: The Twenty-Fifth Hour
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The Four Quarters, No. 4: The Twenty-Fifth Hour The Four Quarters, No. 4: The Twenty-Fifth Hour The Four Quarters, No. 4: The Twenty-Fifth Hour The Four Quarters, No. 4: The Twenty-Fifth Hour
Thomas Adès, National Youth Orchestra of Great Britain & Paul Daniel
Powder her face - suite for orchestra, 1. Overture
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Powder her face - suite for orchestra, 1. Overture Powder her face - suite for orchestra, 1. Overture Powder her face - suite for orchestra, 1. Overture Powder her face - suite for orchestra, 1. Overture
Thomas Adès & Calder Quartet
Arcadiana: 6th movement; O Albion
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Arcadiana: 6th movement; O Albion Arcadiana: 6th movement; O Albion Arcadiana: 6th movement; O Albion Arcadiana: 6th movement; O Albion
Thomas Adès & Calder Quartet
The Four Quarters For String Quartet
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The Four Quarters For String Quartet The Four Quarters For String Quartet The Four Quarters For String Quartet The Four Quarters For String Quartet
Corin Long, Franz Schubert, Thomas Adès, Corina Belcea, Krzysztof Chorzelski & Alasdair Tait
Piano Quintet in A major, D.667 'The Trout': Theme & Variations
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Piano Quintet in A major, D.667 'The Trout': Theme & Variations Piano Quintet in A major, D.667 'The Trout': Theme & Variations Piano Quintet in A major, D.667 'The Trout': Theme & Variations Piano Quintet in A major, D.667 'The Trout': Theme & Variations
Thomas Adès, National Youth Orchestra of Great Britain & Paul Daniel
Dances from Powder her face - Overture
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Dances from Powder her face - Overture Dances from Powder her face - Overture Dances from Powder her face - Overture Dances from Powder her face - Overture
Thomas Adès & Endellion Quartet
Arcadiana Op. 12: VI. O Albion
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Arcadiana Op. 12: VI. O Albion Arcadiana Op. 12: VI. O Albion Arcadiana Op. 12: VI. O Albion Arcadiana Op. 12: VI. O Albion
Thomas Adès, Rebecca von Lipinski (soprano) & BCMG
Life Story, Op.8
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Life Story, Op.8 Life Story, Op.8 Life Story, Op.8 Life Story, Op.8
Thomas Adès, Thomas Adès & The Chamber Orchestra of Europe
3 Studies from Couperin for chamber orchestra
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3 Studies from Couperin for chamber orchestra 3 Studies from Couperin for chamber orchestra 3 Studies from Couperin for chamber orchestra 3 Studies from Couperin for chamber orchestra
Thomas Adès & Hebrides Ensemble
Piano Quintet
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Piano Quintet Piano Quintet Piano Quintet Piano Quintet
Thomas Adès & City of Birmingham Symphony Orchestra conducted by Simon Rattle
….but all shall be well
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….but all shall be well ….but all shall be well ….but all shall be well ….but all shall be well
Thomas Adès, City Of Birmingham Symphony Orchestra & Sir Simon Rattle
Asyla: III Ecstasio
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Asyla: III Ecstasio Asyla: III Ecstasio Asyla: III Ecstasio Asyla: III Ecstasio
G. Barry, Birmingham Contemporary Music Group & Thomas Adès
The Importance of Being Earnest
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The Importance of Being Earnest The Importance of Being Earnest The Importance of Being Earnest The Importance of Being Earnest
Corin Long, Thomas Adès, Belcea Quartet & Franz Schubert
Piano Quintet in A, D 667 'Trout'; 1st movement
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Piano Quintet in A, D 667 'Trout'; 1st movement Piano Quintet in A, D 667 'Trout'; 1st movement Piano Quintet in A, D 667 'Trout'; 1st movement Piano Quintet in A, D 667 'Trout'; 1st movement
Arditti Quartet & Thomas Adès
Piano Quintet: recapitulation
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Piano Quintet: recapitulation Piano Quintet: recapitulation Piano Quintet: recapitulation Piano Quintet: recapitulation
Thomas Adès & Paul Daniel
Concentric Paths: 3rd mvt: Rounds (excerpt)
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Concentric Paths: 3rd mvt: Rounds (excerpt) Concentric Paths: 3rd mvt: Rounds (excerpt) Concentric Paths: 3rd mvt: Rounds (excerpt) Concentric Paths: 3rd mvt: Rounds (excerpt)
Thomas Adès & Danny Driver
Three Mazurkas
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Three Mazurkas Three Mazurkas Three Mazurkas Three Mazurkas
Krzysztof Chorzelski, Thomas Adès, Belcea Quartet, Alasdair Tait, Corina Belcea-Fisher, Franz Schubert & Corin Long
Quintet for piano... (D.667) in A major "Trout", 3rd mvt; Scherzo and trio...
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Quintet for piano... (D.667) in A major "Trout", 3rd mvt; Scherzo and trio... Quintet for piano... (D.667) in A major "Trout", 3rd mvt; Scherzo and trio... Quintet for piano... (D.667) in A major "Trout", 3rd mvt; Scherzo and trio... Quintet for piano... (D.667) in A major "Trout", 3rd mvt; Scherzo and trio...
Anthony Marwood, Игорь Фёдорович Стравинский & Thomas Adès
Petrushka, Pt.1; Danse russe
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Petrushka, Pt.1; Danse russe Petrushka, Pt.1; Danse russe Petrushka, Pt.1; Danse russe Petrushka, Pt.1; Danse russe
Thomas Adès, Thomas Adès & The Chamber Orchestra of Europe
3 Studies from Couperin for chamber orchestra, 1. Les Amusemens
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3 Studies from Couperin for chamber orchestra, 1. Les Amusemens 3 Studies from Couperin for chamber orchestra, 1. Les Amusemens 3 Studies from Couperin for chamber orchestra, 1. Les Amusemens 3 Studies from Couperin for chamber orchestra, 1. Les Amusemens
Thomas Adès & Piatti String Quartet
Arcadiana mvt 6: O Albion
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Arcadiana mvt 6: O Albion Arcadiana mvt 6: O Albion Arcadiana mvt 6: O Albion Arcadiana mvt 6: O Albion
Thomas Adès & Leos Janacek
National dances of Moravia - No 15
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National dances of Moravia - No 15 National dances of Moravia - No 15 National dances of Moravia - No 15 National dances of Moravia - No 15
Leos Janacek
"Diary of One Who Disappeared" - No.1
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"Diary of One Who Disappeared" - No.1 "Diary of One Who Disappeared" - No.1 "Diary of One Who Disappeared" - No.1 "Diary of One Who Disappeared" - No.1
Thomas Adès, François Couperin, Thomas Adès & The Composers Ensemble
Les Baricades misterieuses [from ordre no.6] arr. Thomas Ades for ensemble
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Les Baricades misterieuses [from ordre no.6] arr. Thomas Ades for ensemble Les Baricades misterieuses [from ordre no.6] arr. Thomas Ades for ensemble Les Baricades misterieuses [from ordre no.6] arr. Thomas Ades for ensemble Les Baricades misterieuses [from ordre no.6] arr. Thomas Ades for ensemble
Steven Isserlis, David Popper & Thomas Adès
Dance of the Elves
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Dance of the Elves Dance of the Elves Dance of the Elves Dance of the Elves
Igor Stravinsky & Thomas Adès
Souvenir d’une marche boche
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Souvenir d’une marche boche Souvenir d’une marche boche Souvenir d’une marche boche Souvenir d’une marche boche
Thomas Adès, The Chamber Orchestra of Europe
3 Studies from Couperin for chamber orchestra: no.2; Les Tours de passe-passe
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3 Studies from Couperin for chamber orchestra: no.2; Les Tours de passe-passe 3 Studies from Couperin for chamber orchestra: no.2; Les Tours de passe-passe 3 Studies from Couperin for chamber orchestra: no.2; Les Tours de passe-passe 3 Studies from Couperin for chamber orchestra: no.2; Les Tours de passe-passe
Steven Isserlis, Julius Isserlis & Thomas Adès
Souvenir russe
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Souvenir russe Souvenir russe Souvenir russe Souvenir russe
Hubert Léonard, Steven Isserlis & Thomas Adès
Donkey and Driver
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Donkey and Driver Donkey and Driver Donkey and Driver Donkey and Driver
Steven Isserlis, Claude Debussy & Thomas Adès
Nocturne and Scherzo
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Nocturne and Scherzo Nocturne and Scherzo Nocturne and Scherzo Nocturne and Scherzo
Endellion String Quartet & Thomas Adès
Arcadiana for string quartet, 6th movement; O Albion
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Arcadiana for string quartet, 6th movement; O Albion Arcadiana for string quartet, 6th movement; O Albion Arcadiana for string quartet, 6th movement; O Albion Arcadiana for string quartet, 6th movement; O Albion
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Biography

Thomas Adès studied at the Guildhall School of Music & Drama with Paul Berkowitz (piano) and Robert Saxton (composition) and then read Music at King’s College, Cambridge, graduating in 1992. Two years earlier he had already written his Five Eliot Landscapes, a remarkable Op. 1 that at once relates to the traditional medium of voice and piano and spectacularly transcends it (the song-cycles of Messiaen are perhaps the only discernible precedent). In 1993 Adès’s Park Lane Group recital at the Purcell Room, in particular his Still Sorrowing for prepared piano, brought instant metropolitan acclaim and the effective start of a triple international career as composer, pianist and conductor.

Adès’s response to this meteoric early rise was to explore a number of different areas of style and tone alongside the glittering, intricate, sonically alluring idiom that announced itself so strikingly in the Five Eliot Landscapes. Traced Overhead (1996) for solo piano is another major example of Adès’s flair for exotic instrumental sonority, articulated in cascading figuration and complex metres. Yet by then the same composer had also written, among much else, the quirkily roguish Under Hamelin Hill (1992), for a chamber organ whose main player is intermittently joined by another two; Life Story (1993–4), a wry and bleak setting of Tennessee Williams’s verse evocation of post-coital ennui; Living Toys (1993), a brilliant study in the brisk, incisive idiom associated with the London Sinfonietta; and a Sonata da caccia (1993) for Baroque oboe, horn and harpsichord, written in tribute to one of Adès’s favourite composers, Couperin.

This wide stylistic reach was drawn together in Adès’s first opera, Powder Her Face, an outwardly contentious, inwardly sombre portrait of the later lifestyle of Margaret, Duchess of Argyll, after her sensational divorce in 1963. While the work’s succès de scandale at the 1995 Cheltenham Festival and subsequently elsewhere related to the sexual element of Philip Hensher’s libretto, the commanding assurance and magpie virtuosity of Adès’s score were both unmistakable. Next came two orchestral tours de force in the shape of These Premises Are Alarmed (1996) and the much larger Asyla (1997).

In 1999 a commission from the New York Philharmonic brought forth America: A Prophecy, a powerful and far from millennially optimistic setting of a South American Mayan text for mezzo-soprano, large orchestra and optional large chorus.

The major project of the next few years was a full-length opera, The Tempest, commissioned by the Royal Opera House, premiered there in February 2004 and revived in 2007. Setting a libretto by Meredith Oakes based on Shakespeare’s play, and conducted by Adès himself, the opera was received with huge acclaim. Tevot received its UK premiere at the Barbican’s retrospective, ‘Traced Overhead’, last spring, and Adès’s multimedia piano concerto In Seven Days (a collaboration with video artist Tal Rosner) was premiered in April. A pianist of rare gifts that are regularly at the disposal of music besides his own, In 2009 Adès relinquished his role as Artistic Director of the Aldeburgh Festival.

Profile © Malcolm Hayes

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