New Generations: The Etudes of Philip Glass
View record and artist detailsRecord and Artist Details
Composer or Director: Philip Glass, Ivan Moody, Zack Stanton, Lucas Floyd, Jason Bahr, N. Lincoln Hanks
Genre:
Instrumental
Label: Orange Mountain Music
Magazine Review Date: 05/2016
Media Format: CD or Download
Media Runtime: 103
Mastering:
DDD
Catalogue Number: OMM0107
Tracks:
Composition | Artist Credit |
---|---|
20 Etudes for Piano, Movement: No 5 |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
20 Etudes for Piano, Movement: No 6 |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
20 Etudes for Piano, Movement: No 8 |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
20 Etudes for Piano, Movement: No 11 |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
20 Etudes for Piano, Movement: No 16 |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
20 Etudes for Piano, Movement: No 18 |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
20 Etudes for Piano, Movement: No 20 |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
Dreaming Awake |
Philip Glass, Composer
Paul Barnes, Piano Philip Glass, Composer |
Two Preludes |
Jason Bahr, Composer
Jason Bahr, Composer Paul Barnes, Piano |
Scenic Route |
Zack Stanton, Composer
Paul Barnes, Piano Zack Stanton, Composer |
Monstre Sacré |
N. Lincoln Hanks, Composer
N. Lincoln Hanks, Composer Paul Barnes, Piano |
Piano Thoughts Vol II |
Lucas Floyd, Composer
Lucas Floyd, Composer Paul Barnes, Piano |
Floriture |
Ivan Moody, Composer
Ivan Moody, Composer Paul Barnes, Piano |
Author: Pwyll ap Siôn
It makes for an interesting mix of youth and experience. In truth, however, the collection says more about Barnes’s own tastes and interests than about any direct influence these composers received from Glass. Some influence can be found in the music of the younger group. Lucas Floyd’s Piano Thoughts, Vol 2, written last year, consists of five delicately placed piano miniatures, whose understated quality belies an assured technique and confident voice. It would be interesting to hear what he might do with more extended structures. Both Zack Stanton’s Scenic Route and Jonah Gallagher’s Ad infinitum weave effective patterns around oscillating figures and patterns, but one suspects that they have drunk more from the wellspring of John Adams than of Glass. As the most ‘senior’ figure, Ivan Moody stands head and shoulders above the rest with his Fioriture – its arch-like melodic tracery expanding and contracting in increasingly involved transformations and elaborations before circling back again to its point of origin.
One suspects that Barnes’s personal tastes and preferences also determined the choice of Glass’s Etudes on disc 1. The composer is thought to have conceived them in pairs, so while it makes sense for Barnes to combine the brooding, introspective Fifth with the agitated, unpredictable and explosive Sixth, it may have made more sense for him to include No 19 with No 20, rather than No 18, as they both share a common tonality. Although Barnes may not match Maki Namekawa’s impervious interpretation when it comes to the profound Etude No 20 (2/15), his rhythmic playing and technical agility shine throughout, especially in the rhapsodic, almost Lisztian 11th and the inscrutable 16th, with its lilting 3+2+2 rhythms. This disc provides further proof of Barnes’s ability to communicate new music with flair and passion, lavishing as much care and attention on the music of the ‘new generation’ as he does on the minimalist master.
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