Philip Glass: The Concerto Project, Vol. 1

Editorial Reviews
Album Details
Recorded in January 2004 at the Orchestra's Acoustically Magnificent Home of the Philharmonic Hall in Liverpool, this Superb Release Marks Another Landmark in the Development of Philip Glass' Orange Mountain Music Label. The First Release in the Four Volume Concerto Project Brings Together a Top English Orchestra with Two of the Country's Best Known Classical Instrumentalists, Together with the Paganini of Thetimpani, Jonathan Haas. With an Exclusive Booklet, this Release Signals an Elevation in the Profile of this Already Important Label.

Tracks:

Concerto for Cello and Orchestra - Movement I
Concerto for Cello and Orchestra - Movement II
Concerto for Cello and Orchestra - Movement III
Concerto Fantasy for Two Timpanists and Orchestra - Movement I
Concerto Fantasy for Two Timpanists and Orchestra - Movement II
Concerto Fantasy for Two Timpanists and Orchestra - Cadenza
Concerto Fantasy for Two Timpanists and Orchestra - Movement III

Product Description

CONCERTO PROJECT 1 This is the first of a series of four CDs that Philip Glass and Orange Mountain Music have planned entitled Â“The Concerto Project, No. I-IVÂ” Each disc contains two concerti. Omm0014 features Julian Lloyd Webber with the Royal Liverpool Philharmonic Orchestra conducted by Gerard Schwarz performining Â“Concerto for Cello and OrchestraÂ” and Evelyn Glennie and Jonathan Haas performing Â“Concerto Fantasy for Two Timpanists and OrchestraÂ” also with Gerard Schwarz conducting the Royal Liverpool Philharmonic Orchestra. World-class soloists, excellent orchestra, excellent conducting and the beautiful sounding Philharmonic Hall in Liverpool, together with major compositions from the worldÂ’s preeminent composer, Philip Glass.

Album Details

Recorded in January 2004 at the Orchestra's Acoustically Magnificent Home of the Philharmonic Hall in Liverpool, this Superb Release Marks Another Landmark in the Development of Philip Glass' Orange Mountain Music Label. The First Release in the Four Volume Concerto Project Brings Together a Top English Orchestra with Two of the Country's Best Known Classical Instrumentalists, Together with the Paganini of Thetimpani, Jonathan Haas. With an Exclusive Booklet, this Release Signals an Elevation in the Profile of this Already Important Label.

Customer Reviews:

Timpanists excel.......2007-03-09

The concerto for two tympanists and orchestra was worth the price of the disc.

Two fantastic concertos.......2006-08-09

Unlike certain individuals within the more "sophisticated" crowd, I am not afraid to admit that I like the minimalist music of Philip Glass (b. 1937). Glass' style is very distinct, making use of recurring arpeggios, recurring syncopated patterns and recurring melodic ideas. I used to the word "recurring" three times in the previous sentence to emphasize that repetition is an important element of Glass' music. This would spell trouble for most composers, but Glass pulls this off by continually driving the music forward to achieve greater intensity and incorporating fascinating harmonic shifts that give his music an almost hypnotic quality.

Some have faulted Glass for continuing his reliance on the techniques mentioned above (for decades!). So first off, anyone looking for a radical new direction in Glass' music will be disappointed with this release. While others, such as myself, who enjoy Glass' unique style, will surely love this CD. Rest assured, arpeggios abound, and syncopated motifs propel the music forward.

Of the two concertos, the Concerto Fantasy for Two Timpanists (premiered in 2000) is probably the one that will compel people to purchase this album. A concerto for a percussion instrument is a bit of an oddity. And this concerto, scored for nine timpani played by two timpanists, is pretty much what you would expect. It is intense, it is propulsive and it is aggressive. Glass doesn't seem too keen on exploring the subtleties of the timpani here. The music begins at a good clip with pounding timpani at forte, banging out the movement's theme in 5/4 time. Although, the themes employed by Glass vary in their intensity, the timpani part itself continues its aggressive, perhaps primitive, pounding until the conclusion of the movement. Now how do you compose a slow movement for nine timpani? Not an easy feat, but Glass pulls it off the (for the most part) by composing a processional that gradually builds in intensity to a climax, which then fades away. The finale of the concerto is similar to the opening movement. Lots of aggressive, percussive playing is to be found here. The syncopated opening theme of this movement, to me, has a decidedly Nordic feel to it. In short, this concerto is fantastic and will not disappoint percussion enthusiasts or admirers of Glass' style, just as long as they don't expect this piece to be something it is not. It's a timpani concerto.

Although this CD will be purchased for the timpani concerto, I think after a couple of listenings, the more reflective cello concerto (premiered in 2001) will prove equally interesting; and possibly more so. The mood of the first two movements is somber, with the rhythmic intensity of the timpani concerto nowhere to be found. However, the music is no less fascinating, with Glass' distinctive harmonic modulations and characteristic orchestration. The themes themselves are weightier and more substantial than the ones from Glass' earlier days, but repetition is still an important element to this concerto. The slow movement is especially lovely. This movement does last 14 minutes, for some reason, but is none the worse for it, as the cello's expressive recurring theme never gets stale. Things heat up a bit more in the finale, with the previously released violin concerto coming to mind. Julian Lloyd Weber, does well navigating through the sixteenth-note-laden solo part, while the percussion section, especially the castanet player, propels the music forward with repetitive rhythmic ideas. My only quibble with this piece is the ending, which is very abrupt, as if Glass was unplugged or blew a fuse in the midst of his syncopating. However, Glass' tendency to conclude with sudden, harmonically bizarre, codas is one of his "trademarks." Like a car going down a hill with no brakes, Glass' music has no problem sustaining its forward momentum; however its halt isn't pretty.

Despite this, this disc has my full recommendation. The reflective cello concerto contrasts nicely against the assertive timpani concerto. This is fascinating music that will appeal to all (except those who take themselves too seriously) and deserves a place in the library of any acquirer of recent classical music.

55:12

This is my story why I bought and fell in love with this album........2005-12-26

I still remember the incredible sensation I felt one night listening to Philip Glass' "Concerto Fantasy for Two Timpanists and Orchestra" for the first time on my car radio.

It happend about a year ago. After dining at Hooters in Santa Monica with some of my drumline friends, I hopped back into my car, turned on the engine, and all the sudden, the sound of timpani filled the car! I mean LOTS and LOTS of it! Listening to the orchestral accompaniment, I knew it was a concerto piece... a very modern concerto piece. The music was simply mesmerizing, with the orchestra playing rather refreshingly consonant chords, while the drums were struck all over the place, at times arpeggiating, and at times singing the melody. It either had to be a soloist playing so many drums, or even two playing them.

I simply had to know what this strange new piece was, so I listened throughout my whole drive on the dark highways and freeways back home. Lasting pretty long, I knew I must have listened from the first movement. As the music progressed, there was a slower movement, the followed by a huge cadenza featuring the timpani, before another fast movement. By the time I reached home, the music came to an exhilirating close, and listened like an eager student... "Concerto Fantasy for Two Timpanists and Orchestra by Philip Glass ("Philip Glass? Really?", the soloists being Jonathan Haas and Evelyn Glennie ("Evelyn Glennie? I know her!"), with the Royal Liverpool Philharmonic under Gerald Schwartz."

I never hesistated by buy the album featuring this work. It only took days for me to find the right album with the right performers (well, this IS the only performance so far, being a premiere recording).

As a percussionist (with timpani being my favorite instrument), I bought this album just for the Timpani piece... obviously. Based on the booklet, the soloists Jonathan Haas (dubbed the "Paganini of Timpani") and Evelyn Glennie (probably THE best percussionist in the world), played on seven drums each, so that's FOURTEEN total! The work did prove a challenge to the performers, but the recording came out very well.

If you love timpani, then you'll absolutely love this work. Guaranteed! I truly cherish the work, and I am hoping to play it in the future to show my obsession with my favorite percussion instrument.

Great!.......2005-07-01

Excellent service, as always. They seem to have all the stuff you can't find anywhere else.

A must for all percussionists and music lovers.......2004-11-13

In listening to the first movement of the Concerto Fantasy for Two Timpanists, I was completely drawn into the play of these two brilliant percussionists, Evelyn Glennie and Jonathan Haas. The very sound of fourteen timpani in concert together with the Royal Liverpool Philharmonic Orchestra is just amazing and from the start makes you sit up and take notice. The play between the strings and timpani is fantastic in the first movement. In this work the listener will get a true appreciation for the beautiful and powerful tone of the timpani. This is especially true in listening to the Cadenza where Glennie and Haas coax and reveal a variety of different tones and colors from their timpani, the voice of the timpani is revealed here. Movement III is the marvelous reward and bright payoff off of the piece, with the timpanists playing in harmony with the full orchestra once again. Featuring the timpani as a solo instrument in this context is fresh and very different. I hope to have the opportunity to see and feel a performance of this concerto in the future, especially if performed by Glennie and Haas.

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