Discography: 2000s

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Thea Musgrave: Turbulent Landscapes / Songs for a Winter’s Evening / Two’s Company

June 2009

NMC D153

Rich, powerful musical language and a strong sense of drama have made Thea Musgrave one of the most respected and exciting of living composers. The composer herself remembers of Two’s Company:

“This work was commissioned by the BBC for Evelyn Glennie and Nicholas Daniel. It was an enormous challenge to write a dramatic work for two such dissimilar sound worlds. I decided that I would strongly dramatize this difference before brining them harmoniously together. The soloists move around the orchestra to different positions and these changes are always dramatically motivated. Throughout the two soloists are aware of each other and play with each other’s attention, but only come together musically and physically in the very last section.”

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The Sugar Factory

August 2007

Tzadik TZ 7623

In 2003 Thomas Riedelsheimer asked English experimental musician Fred Frith to perform with Glennie in Riedelsheimer’s new film, Touch the Sound. Frith had previously worked with Riedelsheimer on the soundtrack for his 2001 documentary, Rivers and Tides. Frith and Glennie performed in an abandoned sugar factory in Dormagen, Germany. This was the first time that Frith and Glennie had worked together, and their entire performance was improvised.

Since The Sugar Factory sessions, Frith and Glennie have performed live together on several occasions. Frith said that “A language is developing between us, and every concert brings new discoveries.”

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Erkki-Sven Tüür: Magma

August 2007

Virgin Classics 0946 3 85785 2 9

The starting point for Magma came in the form of a request from Evelyn Glennie for a percussion concerto. As Tüür turned the idea over in his mind, he realised he wanted to write a piece where the percussion soloist and the much more deeply integrated than is possible in a concerto; the solution became a symphony with a solo percussionist – in front of the orchestra, not tucked-away at the back where the percussion is usually found. The title was suggested to Tüür because of the raw energy and inner power displayed by the material and its ability to burst out in different places and in different moods; magma can also take an infinite number of shapes and behave in different ways, flowing or turning to stone.

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Touch the Sound

March 2006

Normal N 267 CD

The original soundtrack from Thomas Riedelsheimer’s award-winning film Touch the Sound. An unforgettable sonic journey with Evelyn Glennie, Fred Frith and a very diverse range of guest artists. At the heart of Every life-form there is rhythm. Movement, flow, change, renewal and repetition are all based in rhythm – and it is only in rhythm that we can experience time. Without vibration, without oscillation, there is static. There is nothing. Stability and solidarity are illusions. Everything oscillates and vibrates – from the bridge of steel and concrete, to the energy shells dancing around the atom. Even colours oscillate at different frequencies. We recognise and experience our world through rhythm. Everything vibrates – everything ‘speaks’ It is, in essence, a universe of sound.

Glennie et al: Warm up
Glennie et al: Tam-Tam Wave
Glennie et al: New York Sounds
Glennie et al: Tapdance
Glennie et al: Airport Rhythm
Glennie et al: Central Snare
Glennie et al: Arriving
Glennie et al: Sound Check
Glennie et al: Silence
Glennie et al: Breath
Glennie et al: Taiko
Glennie et al: Tokyo Voices
Glennie et al: Metal
Glennie et al: Drums ‘n’ Guitar
Glennie et al: Tokyo Night
Glennie et al: Chopstick Solo
Glennie et al: Marim-Bar
Glennie et al: Memories
Glennie et al: A Little Prayer
Glennie et al: Seaside
Glennie et al: In the Womb
Glennie et al: Hell’s Kitchen
Glennie et al: The Way

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Margaret Brouwer: Aurolucent Circles / Mandala / Sizzle

January 2006

Naxos 8.559250

Aurolucent Circles is the percussion concerto Margaret Brouwer composed for Evelyn Glennie, which was premièred by her with the Seattle Symphony conducted by Gerard Schwarz. It is a fully-fledged concerto in three movements designed to explore the many possibilities of solo percussion with orchestra and to exploit the dedicatee’s virtuosity to the full. This CD features the Royal Liverpool Philharmonic Orchestra.

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Philip Glass: The Concerto Project Vol. I

October 2004

Orange Mountain Music 0014

This is the first of a series of four CDs released by Philip Glass and Orange Mountain Music entitled The Concerto Project. Each disc contains two concerti. This disc features Julian Lloyd Webber performing Concerto for Cello and Orchestra and Evelyn Glennie performing Concerto Fantasy for Two Timpanists and Orchestra with Jonathan Haas. World-class soloists, an excellent orchestra, excellent conducting and the beautiful sounding Philharmonic Hall in Liverpool, make for an exciting recording from one of the most famous composers of our age.

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Michael Daugherty: Philadelphia Stories / UFO

October 2004

Naxos 8.559165

Michael Daugherty is one of the most performed American composer of concert music of his generation. The London Times has described him as a ‘master icon-maker’ and hailed his ‘maverick imagination, fearless structural sense and meticulous ear’. Written for Evelyn Glennie, who gave the world première performance, UFO is inspired by unidentified flying objects and sounds. The final movement, Objects, features virtuosic drumming by the percussion soloist at warp speed to suggest the outer trappings and inner machinery of a fine-tuned alien aircraft.

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Christopher Rouse: Der gerettete Alberich / Rapture / Violin Concerto

March 2004

Ondine ODE 1016-2

Christopher Rouse is one of America’s best known and frequently performed composers. This disc presents the first recordings of the violin and percussion concerti as well as a the première recording of Rapture for orchestra. Collectively they reflect changes in his evolving compositional persona.

Rouse’s instrument is percussion. The idea of the percussion filling a quasi-dramatic role takes hold in Der gerettete Alberich. Rouse hit upon a connection with Wagner’s Ring cycle. “At the end of Götterdämmerung, the greedy dwarf Alberich is the only main character who is still alive. I’d always wondered what happened to him and decided to have a little fun with that idea.”

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Oriental Landscapes

November 2002

BIS BIS-CD-1222

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Mark-Anthony Turnage: Fractured Lines

October 2002

Chandos CHAN10018

This disc features the première recordings of four of Turnage’s most significant orchestral from around the turn of the century. Another Set To, with its brazen argumentative style, makes for an exciting start, glowing with the sound of Lindberg’s trombone. Silent Cities takes things down a few notches before Four-Horned Fandango blazes forth, with four horns and orchestra playing with dazzling colour. The disc concludes with the composer’s double percussion concerto, Fractured Lines. Here Evelyn Glennie and Peter Erskine display untold virtuosity as they masterfully drive this rousing piece, and the disc, to its conclusion.

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Travelling Light – Lesley Garrett

November 2001

EMI 7243 5 57251 2 7, BBC CDC 5 57251 2

Travelling Light is a 2001 by British soprano singer Lesley Garrett. It reached 75 on the UK general album chart. In the US it was released in February 2002.

Among original music it includes the song “Two Hearts, One Love” specially composed for Lesley Garrett by George Martin with lyrics by Don Black, a medley of two songs by the Beatles: “For No One” and “Blackbird”, and “Mambo Italiano” with Evelyn Glennie on percussion, including instruments based on dustbin lids, having said “What this piece needs is a wee bit of trash!”

Medley of “Surrender” and “The Wonder of You” (5:04)
“Ave Maria” with Julian Leang (4:13)
“Bess, You Is My Woman Now” with Bryn Terfel (5:04)
Medley of “For No One” and “Blackbird” (4:36)
“I Dreamed a Dream” (4:32)
“Mambo Italiano” with Evelyn Glennie (4:21)
“The Summer Knows” (4:48)
“Two Hearts, One Love” (3:39)
“Alabama Song” (2:44)
“La Violet” with Roland Chadwick (4:09)
“Et Si Demain” with Michel Legrand (3:27)
“Over the Rainbow” (5:00)
“A Boy Like That” (4:47)
“On Holy Ground” (5:39)

Soprano Vocals – Lesley Garrett

Track 2 featuring Julian Leang
Track 3 featuring Bryn Terfel
Track 6 featuring Evelyn Glennie
Track 7 featuring Michael Ball
Track 9 featuring Metro Singers
Track 10 featuring Roland Chadwick, with backing vocals by Beverley Skeete, Carol Kenyon, Derek Green, Lance Ellington, Mark Williamson, Miriam Stockley, Tessa Niles, Tommy Blaize
Track 11 featuring Michel Legrand
Track 13 featuring Denyce Graves
Track 14 with backing vocals by Beverley Skeete, Carol Kenyon, Derek Green, Lance Ellington, Mark Williamson, Miriam Stockley, Tessa Niles, Tommy Blaize

Conducted by Philip Ellis
Sir George Martin (For No One/Blackbird; Two Hearts, One Love)
Michel Legrand (The Summer Knows)

Additional Musicians:
The BBC Concert Orchestra, Britten Sinfonia, The Wonder of You & Ave Maria – Clare Singers

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UFO: The Music of Michael Daugherty

November 2001

Klavier KCD-11121

UFO was written for and first performed by Evelyn Glennie. The concerto is inspired by the unidentified flying objects that have become an obsession in American popular culture. The soloist is introduced as an alien, arriving unexpectedly and playing mysterious percussion instruments in unfamiliar ways. The three major sections of the composition are entitled Unidentified, Flying, and Objects. There are also two brief interludes entitled Traveling Music and ??? during which the percussion soloist moves through the audience and around the stage while performing sleight-of-hand improvisations that may leave the listener wondering: is this another UFO sighting?

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Béla Fleck: Perpetual Motion

October 2001

Sony Classical SK 89610

Sony Music came up with the concept of bringing the great banjo player Béla Fleck together with other eclectic musicians to create arrangements of well-known classical music. This recording features several tracks for banjo and marimba along with many other imaginative combinations. His arrangements are generally minimalist and understated, but percussionist Evelyn Glennie, violinist Joshua Bell, bassist Edgar Meyer and mandolinist Chris Thile join in on this ground-breaking disc.

Scarlatti/Fleck: Keyboard Sonata in C Major K. 159
Bach/Fleck: Two-Part Invention No. 13
Debussy/Fleck: Doctor Gradus ad Parnassum from Children’s Corner
Chopin/Fleck: Mazurka in F-sharp Minor
Bach/Fleck: Prelude from Partita No.3 for Solo Violin
Chopin/Fleck: Etude in C-sharp Minor
Chopin/Fleck: Mazurka in F-sharp Minor
Bach/Fleck: Three-Part Invention No. 10
Tchaikovsky/Fleck: Melody in E-flat
Brahms/Fleck: Presto in G minor I after Bach
Bach/Fleck: Prelude from Suite for Unaccompanied Cello No. 1
Bach/Fleck: Three-Part Invention No. 15
Paganini/Fleck: Moto Perpetuo
Scarlatti/Fleck: Keyboard Sonata in D minor K. 213
Bach/Fleck: Two-Part Invention No. 6
Beethoven/Fleck: Adagio sostenuto from ‘Moonlight’ Sonata
Bach/Fleck: Two-Part Invention No. 11
Beethoven/Fleck: Seven Variations on “God Save the King”
Bach/Fleck: Three-Part Invention (Sinfonia) No. 7
Paganini/Fleck: Moto Perpetuo (Bluegrass version)

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Dave Heath: African Sunrise/Manhattan Rave

March 2001

Black Box BBM1051

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Shadow Behind the Iron Sun

March 2000

Catalyst 8287664282 2

The idea of making an improvised recording, where Evelyn Glennie could work closely with a producer, had been in her mind for many years. Improvisation happens in all the concerts she gives – it’s in her nature to learn from the rules of a piece and then to break them. In this project there were no boundaries and no limits. What you experience with this recording are the thoughts and instincts of the performers from moment to moment. As Gramophone magazine says, ‘Evelyn Glennie has never been afraid to take risks. […] The spirit of Evelyn Glennie is indefatigably apparent on this recording”.

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Header Image: Nick Southall (licence: CC BY-NC 2.0)

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