Philip Glass

The piano may not be the ideal medium for capturing the expressive possibilities of Glass' style of minimalism, but pianist Bruce Brubaker selects pieces that work well on the instrument. Part of the problem with hearing Glass on the piano is forgetting the sound of his ensemble, and the variety of colors (and volume) they have imparted to similar music. Brubaker begins his recital of works by Glass and Alvin Curran with his transcription of "Knee Play 4" from Einstein on the Beach. It is in fact a lovely piece on the piano if one can put the spectacular power and tonal range of the instrumental version out of one's mind. "Opening" from Glassworks, originally scored for piano, works beautifully on the instrument, and flows as naturally as the C major Prelude from Book I of The Well Tempered Clavier. The two pieces by Curran, Hope Street Tunnel Blues III and Inner Cities II, use a syntax similar to Glass, with a more dissonant tonal vocabulary. Hope Street Tunnel Blues III has ample kinetic energy that gives it an exhilarating momentum.

The new recording captures the pianists’ special artistic relationship with Philip Glass – a follow-up to the Double Piano Concerto the composer dedicated to the sisters in 2015. They are known for the fusion and energy of their duet, pursuing a stunning career all around the world, supporting both the classical repertoire and the contemporary creation. Philip Glass’s music occupies a special place in Katia & Marielle Labèque’s creation since they are already dedicatees of his Double Concerto for two pianos. It’s the composer himself who chose to adapt his opera Les Enfants Terribles after Jean Cocteau’s novel for them, in a suite for piano duet.

Here are three 20th-century violin concertos written within a 30-year period in three totally different styles, played by a soloist equally at home in all of them. Bernstein's Serenade, the earliest and most accessible work, takes its inspiration from Plato's Symposium; its five movements, musical portraits of the banquet's guests, represent different aspects of love as well as running the gamut of Bernstein's contrasting compositional styles. Rorem's concerto sounds wonderful. Its six movements have titles corresponding to their forms or moods; their character ranges from fast, brilliant, explosive to slow, passionate, melodious. Philip Glass's concerto, despite its conventional three movements and tonal, consonant harmonies, is the most elusive. Written in the "minimalist" style, which for most ordinary listeners is an acquired taste, it is based on repetition of small running figures both for orchestra and soloist, occasionally interrupted by long, high, singing lines in the violin against or above the orchestra's pulsation.

Katia et Marielle Labèque, the famous pianist sister duo with a career spanning more than fifty years, release their new album dedicated to the music of Philip Glass, completing his operatic triptych composed between 1993 and 1996, based on the films by Jean Cocteau. After their much-acclaimed recording of Les Enfants Terribles in 2020, the pianists now present the remaining two works in the Cocteau Trilogy: Orphée and La Belle et la Bête, arranged by Glass’ music director Michael Riesman for Katia and Marielle Labèque. Katia and Marielle Labèque will be touring extensively throughout 2024 and performing the program in several markets, including France, Germany, UK and Ireland.

A major milestone in Philip Glass’s compositional output. Matt Haimovitz plays Glass’s brand-new Partita No 2, alongside its predecessor, "Songs and Poems," which surprised many people with its depth and ambition. It’s not hard to hear that Glass has studied Bach’s solo cello suites in depth, and he demands a similar range from the instrument. This is music of real substance, and couched in a very different style to the minimalist Glass we’ve come to know. Haimovitz is utterly inside this music and brings passion, technique, and personality.