Philip Glass - Philip Glass: The Concerto Project, Vol. II
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Artist: Philip GlassEdition: Music CD
Format: Import
CD Release Date: 2006-09-12
Music Label: Orange Mountain
Soundtracks:
- 'The Vision' - Movement I
- 'Sacagawea' - Movement II
- 'The Land' - Movement III
- Movement I
- Movement II
- Movement III
Music reviews of Philip Glass: The Concerto Project, Vol. II
Music Review: GLASS GENIUS- GLASS CAN DO IT ALL!!!!
Rating: 5 Stars
Two spectacular concertos on one disc- these are two of my very favorite concertos by Glass.
I attended the world premiere performance of Philip Glass' Piano Concerto No. 2 "After Lewis & Clark" at the Lied Center in Lincoln, Nebraska on Saturday, September 18, 2004. The work was performed by pianist Paul Barnes, Native American flutist R. Carlos Nakai, and the Omaha Symphony Orchestra conducted by Victor Yampolsky.
I've attended somewhere over 50 Philip Glass "events" since 1988, and this is the first performance of a Philip Glass piano concerto that I've attended.
"After Lewis and Clark" was co-commissioned by the Nebraska Lewis & Clark Bicentennial Commission, the Lied Center for Performing Arts and the University of Nebraska-Lincoln Hixon College of Fine and Performing Arts. The piece was introduced by Ron Hull, Chairman of the Bicentennial Commission. Other speakers included UNL Chancellor Harvey Perlman, Nebraska Secretary of State John Gale, and Otoe-Missouria tribal elder Dr. Aaron Gawhega. Mr. Hull said "the Lewis & Clark Commission wanted to do something to commemorate the expedition of Lewis & Clark- something that would be classy and something that would last".
Mr. Glass definitely delivered upon their wish with a wonderful piece that is beautiful, powerful, and inspiring. I somehow wound up getting a seat in the second row even though I purchased my ticket about 5 days ahead of time and the hall was practically sold out. Mr. Barnes is the most exciting pianist I've seen, and you must see him play if you can. His playing was note-perfect and powerful and he was really fired up! Mr. Barnes looked like he was having the time of his life! He played like I always have imagined myself playing if I could play. The first movement, "The Vision", an 11 minute long "musical steamroller" as Glass put it, has only four bars of rest for the pianist throughout. Perfectly conveying the determination it takes to embark on a journey, with the trademark Philip Glass drive, the movement flies by in a flash and doesn't seem 11 minutes long. The piece starts off with the rapid-fire, Philip Glass arpeggios with a cyclical arrangement for orchestra- trademark Glass mesmerizing musical structures that I can never get enough of. My eyes actually start watering whenever I hear Glass arpeggios and cyclical structures played like that.
The second movement "Sacagawea" is based on the Shoshone Indian who became the duo's companion. The premier Native American flutist, R. Carlos Nakai, joined Mr. Barnes for a duet with some orchestral accompaniment. This movement perfectly conveyed the meeting of cultures with a playful center section and closed on a sorrowful note. To me, the ending felt like the loss of a treasured part of the past which can't be re-created. It was so beautifully written that the crowd couldn't breathe when it came to an end. This movement attests to the genius of Mr. Glass in that he can write high-tech pieces on one hand, and yet can write pieces for instruments like Native American flute on the other, and do it convincingly and authentically.
The final movement "The Land" was described by Mr. Glass in the short talk given before the performance, as a portrait of looking back at where you've been, such as if you climbed a mountain and looked back at where you started and said "I can't believe I did that". This movement flies by as well and is my favorite movement of the work, with many wonderful themes and complex passages. Incorporating a canon that overlaps themes and six variations, this movement makes for wonderfully involving listening. Mr. Glass said "it has a lot of notes", but every note has its place and the movement is actually incredibly tight and without any flab at all. It's actually remarkable in its economy. Glass said when you look back at your life, you find it to be very complex. This movement perfectly conveys that. Life is very complex and simple at the same time. This is probably one of my favorite Glass pieces that he has written in say, the last five years.
The crowd immediately gave a boisterous standing ovation which lasted at least three minutes (seemed much longer in person) and there was whooping, whistling, and bravos from the crowd's excitement of the piece. Mr. Glass joined the performers on the stage and they were called out for two extra bows. This ovation was well-deserved and the excitement in the air was palpable and authentic. You can see the genuine excitement in the crowd if you see the photo taken from the stage during the ovation which is on Paul Barnes' website (it's easier to see the crowd better if you crank up the brightness in a photo editing program).
If you haven't seen Mr. Barnes play, you owe it to yourself to make sure you attend one of his performances sometime. He is simply the best, most exciting, passionate and intense performer, who is a blast to watch, yet plays crystal clear and logically, pianist I've ever seen and I can see why Mr. Glass enjoys working with him.
The other concerto on this CD is the Harpsichord Concerto. I've listened to it several times, as the premiere performance was broadcast over the Internet and I recorded the broadcast. Of course, the sound quality on the CD is much superior.
Glass composes for the harpsichord like he has been doing it for years- Handel and Bach would be proud. The first movement is especially uplifting and beautiful. One of my favorite Glass movements- pure Glass! The other two movements are great as well.
You can't go wrong with this CD!
Description of Philip Glass: The Concerto Project, Vol. II
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