John Adams

Bruce Brubaker artistic skill and understanding of this music is beyond reproach and will thrill any fan of the collected composers work on this CD. The sound quality is outstanding as well. Bruce Brubaker has recorded two CDs on the Arabesque label in a continuing series exploring modern American piano music. The most recent, Inner Cities, was released in September 2003, and includes Brubaker's transcription of Pat Nixon's aria from Adams's opera, Nixon in China. The previous CD, Glass Cage , with pieces by Glass and Cage, was named one of the ten best releases of 2000 by The New Yorker magazine.

John Adams' The Gospel According to the Other Mary, first performed in 2012 in Los Angeles, is something of an expansion on the composer's El Niño, a Passion story adorned with a variety of contemporary themes and musical materials. Like the earlier work, it features a libretto by longtime Adams collaborator Peter Sellars, and it may be sung on-stage as an oratorio or presented as an opera.

Not only is the piece amazing! (of course) but the performance is incredible! The London Sinfonietta plays with remarkable virtuosity and STYLE! As a musician having listened and seen the score, I know this piece is extremely difficult, and they play with wonderful competence and character. Aside from the fantastic playing, the piece is a real ear opener for fans of Adams. The majority of his music (or, that which is being recorded) are large orchestral works. Large orchestras, lots of soloists, etc. Wonderful stuff, if you haven't heard Harmonium yet, go listen. .

Composed in 1993, the John Adams Violin Concerto is already a contemporary classic. Some reviewers say it is the best violin concerto written in the past 50 years. This new recording by Leila Josefowicz is the last word on what are now many recordings by some of the world's finest players. She first recorded the Violin Concerto in 2002 with John Adams, the composer, conducting. What makes this new recording the best? Josefowicz "owns" the piece having performed it in concert over 100 times since the premiere!

Of all the so-called minimalists working today, John Adams is the only one with any good ideas left. Witness this delightful release. The key to Adams's creativity is that he isn't bound by theoretical constraints on what "minimalism" should be. Century Rolls (1995) is a commission by Emanuel Ax, and it was inspired by the composer's listening to a CD recording of an ancient player piano.

Leave it to Christoph Eschenbach and the Houston Symphony to deliver one of the more impressive classical discs of 1999: a pairing of the violin concertos of John Adams and Philip Glass. Hearing the works of these two American music mavericks side-by-side is a study in contrasts: Adams's postmodernist composition from 1993 is filled with spooky overtones, as the violin threads its way through the piece, always at the forefront. It doubles as a ballet (the NYC Ballet cocommissioned the piece), yet never forgets the traditional violin-concerto form. Glass's composition from the late '80s is less complex. It, too, is based around a traditional structure of three movements, but these are passages we've heard from the composer for the last decade, though never quite so well assembled.

Robert Shaw and Telarc have released another disk of not-too-often performed choral/orchestral works, but they are ones that are important: John Adams' Harmonium and Rachmaninoff's The Bells, two works featuring texts by important authors.

John Adams’ music has long since captured the admiration of listeners for its inimitable American qualities. City Noir was inspired by the cultural and social history of Los Angeles, with Adams calling it ‘an imaginary film score’ in its evocation of a terse, melodramatic and menace-drenched sound world. Fearful Symmetries exemplifies Adams’ steamroller motor rhythms, endlessly inventive in their shifts of timbre, texture and color. The album ends with a work dedicated to Marin Alsop, a capricious “Spider Dance” of memorable rhythmic drive.